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San Ildefonso Pottery

San Ildefonso Pueblo English Pronunciation: "San Ill-day-fon-so" Traditional Name: Po-woh-ge-oweenge "Where the water cuts through." San Ildefonso pottery is one of the best known art forms of the New Mexico Pueblos because of the famous black-on-black pottery which originated there and which was revived in the nineteen-twenties. At that time San Ildefonso Pueblo, like many other Pueblos, was suffering a severe economic depression. Long standing internal conflicts, encroachment upon tribal lands by squatters and illegal cutting of timber all contributed to the low subsistence level to which the Pueblo had fallen. When American Indian crafts began to be popular with collectors, it was fortunate for the San Ildefonso people, because although the Pueblo population was small, there were a number of skilled artisans, makers of pottery and painters, who set to work to improve the economic condition of the Pueblo. Before long, the outstanding quality of San Ildefonso pottery became known. It was then that the famous black pots were revived, primarily because of Maria Martinez. Today, they command the respect of world-wide collectors of fine art. Other artists, potters and watercolor painters came to the attention of the public and although the Pueblo is one of the smallest in population, it is among the best known. The San Ildefonso people have lived in the present site since before thirteen hundred A.D. They have a strong sense of identity and retain ancient ceremonies and rituals tenaciously, as well as tribal dances. A particularly important festival is the Buffalo Deer Dance, performed in San Ildefonso’s feast day.

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Martinez, Maria – Wide Black Plainware Bowl “Maria Poveka”, 1950’s

In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This wide bowl is very highly polished and it is fired a dark black.  The bowl is signed in the clay, “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,800.00
Gutierrez, Margaret Lou Roybal – Large Bowl with Feather Designs

Margaret Lou Gutierrez was the only daughter of noted potters Tonita & Juan Roybal.  She began making pottery in the 1970’s. This bowl is one of the largest we have seen of her pottery.  It is very highly polished and beautifully painted with a feather pattern.  Note how tight and sharp the feather are in the design!   This bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Lou Gutierrez”.

$ 875.00
Gutierrez, Margaret Lou -Bowl with Wind Designs

Margaret Lou Gutierrez was the only daughter of noted potters Tonita & Juan Roybal.  She began making pottery in the 1970’s. This bowl is very highly polished and one of her classic round shapes.  The design is a very tightly painted wind and cloud pattern with a mountain design.  The fine lines are certainly reminiscent of the designs painted by her father Juan in the 1930’s.  Margaret Lou no longer makes pottery.  This bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Lou Gutierrez”.

$ 225.00
Martinez, Maria – Large Bowl with Lightning and Wind Designs (1920’s)

It is not often that we come across a large bowl by Maria Martinez in such great condition.  This bowl is from 1920-25 and it was made and polished by Maria Martinez and painted by her husband, Julian.  These early pieces are signed, “Marie”, although Julian was painting the designs.  It was not until around 1925 that they began to sign both names to the pottery.   This bowl has a wide mouth and the painting is on the side around the shoulder.  The designs are rain, lightning, wind and prayer feather patterns.  They flow perfectly across the surface.  The bowl is highly polished and fired with near-gunmetal areas on the surface. The gunmetal color achieved on these early pieces was from the heat of the firing.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Marie”.

To learn more about Maria’s signatures, click here.

 

$ 8,200.00
Roybal, Tonita – Long Neck Jar with Avanyu (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This is is one of the larger pieces we have had of her pottery. The jar is one of her early long neck vessels with a slight shoulder.  The design is the classic water serpent (avanyu), which is painted around the shoulder.  The jar is very highly polished and fired with a range of color from black to gunmetal.  Interestingly, when she would fire these long neck jars they would be fired on their side!  This jar has a slight lean to the form.  However, the size and classic design are the dynamic parts of this amazing jar!  It is signed on the bottom in the clay, “Tonita”.  It is in good condition with no chips, cracks, restoration or repair.

 

 

 

 

 

 

$ 4,000.00
Gonzales, Ramona Sanchez – Plate with Bird Design (1920’s)

This is a striking painted bowl by Ramona Gonzales.  Ramona was known for her delicately painted pottery.  This plate is almost more like an open bowl.  It is fully polished on the front and back. The design has a bird which fills up the entire surface of the plate.  The polished background and matte painted designs work perfectly on this piece.  It is signed on the back in the clay, “Ramona”.  It is in good condition with no chips, cracks, restoration or repair.  There is some wear on the surface. This is definitely an important piece of her pottery.

Click here to learn more about the Early San Ildefonso Innovators!

$ 1,550.00
Martinez, Maria  – Wide Bowl with Feather Design (Maria + Santana, 1954-6)

This wide bowl by Maria Martinez is one of her classic pieces in both shape and design.  It was made by Maria Martinez and painted by her daughter-in-law Santana Martinez (the wife of Adam Martinez, Maria’s son).  It is very highly polished and has a glassy surface.  The design is a feather pattern which encircles the shoulder of the jar.  The shape of the bowl is a very traditional one for Maria.  She would often say that this wide shape was made so the bowl could be easily held in both hands.  The deep black firing and the tightly painted designs using the matte clay work perfectly together.  The bowl is signed on the bottom in the clay, “Maria + Santana”.  It is in very good condition with no chips, cracks, restoration or repair.  There is one very small rub on the rim, but otherwise the condition is exceptional, which can also be seen from the bottom of the bowl, which has virtually no wear!

To learn more about Maria’s signatures, click here.

$ 2,200.00
Martinez, Maria – Jar with Storm Designs”Maria / Popovi” (1956-9)

This is a classic shaped smaller jar by Maria Martinez and her son, Popovi Da.  Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and it painted with a storm design. The design is painted horizontally and there is a rain, lighting and thunder motif in each of the sections.  Around the rim is a cloud pattern.  The jar is fired to a dark black with some gunmetal areas. The gunmetal or metallic appearance is achieved in the firing process.  The jar is signed on the bottom in the clay, “Maria Popovi“. The signature indicates that it was made between 1956-9, before Popovi began adding a firing date.   The jar is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 2,200.00
Blue Corn – Jar with 39 Feathers (1970’s)

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. She learned to make pottery from Maria Martinez at San Ildefonso. This jar is fully polished and patined with 39 feathers around the shoulder of the piece.  The shape is a classic one for Blue Corn, with the low shoulder and elongated sides.  The contrast of the matte feathers and the highly polished surface works perfectly!  The jar is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  It is in very good condition with no chips, cracks, restoration or repair.  There are a few light surface scratches seen in the photos.

$ 1,200.00
Sanchez, Russell  – Mini”Gourd” Bowl with Bear Lid

This is an exceptional mini gourd bowl by Russell Sanchez.  The piece is a classic “gourd” bowl.  There are eight “gourd” indentions on the side.  The name for this style of impression comes from the round sections of gourds used when making the pottery to smooth the surface.  The entire surface is fully polished to a nearly gunmetal shine. The lid is one of his classic bear lids, which fits perfectly onto the piece.  The bowl is simple and the angles and shine are what make it so impressive.  Note the position of the indentions, which are at the perfect angle to catch and reflect the light!  The difficulty in a jar like this comes from polishing the gourd indentions and getting a high shine.  This piece was traditionally fired and has a glassy black surface.  The bottom of the bowl has the classic indention of traditional San Ildefonso water jars.  Of course, the amazing part of this piece is its size.  It is a miniature and yet it is scaled to the precision that it seems as if it could be much larger!  It’s fascinating to see how he has updated the gourd style from a piece made nearly 100 years ago!  It’s exciting how Russell uses these historic elements to keep them alive on his contemporary pottery.  It is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

 

$ 2,200.00
Sanchez, Russell  – Waterfall Rim & Gourd Base Water Jar

This is a classic form of water jar by Russell Sanchez.  The shape is a very traditional form with a wide round shoulder and straight rim.  The edge of the rim is flat, but the inside of the neck is carved and polished with 16 melon ribs creating the “waterfall” effect!  The neck of the jar has four bear paws and the shoulder has a micaceous clay slip which, when fired, is a mettalic coloration.  Above and below the mica band are jet hei-shi beads.  The base of the jar is carved or indented with a “gourd” design. The way the light hits is perfect creating a sort of “shimmer” when the piece is turned!  The entire surface is stone polished and it is always amazing that when Russell polishes the inside of the neck, the jar doesn’t crack.  It is fascinating how Russell has gone back to revive old style and create their modern versions.  Russell continues to creatively revive historic San Ildefonso designs with his innovative style of pottery.  The bottom of the jar has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery.  It is signed on the bottom in the clay, ‘Russell”.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 3,000.00
Sanchez, Russell  – Mini Box with Rain Designs

It is not often that we get in miniatures from Russell Sanchez.  He is well known for the distinctive pottery and not only the polishing and shapes but the firing. While this box is small, it is complicated!  It has black and sienna medallions on two of the ends, which are inset with very old Morenci turquoise.  The longer sides are etched with rain designs and inset with small pieces of hemitite. The hemitite reflects much the same coloration as the gunmetal fired surface.  The lid has a carved handle and it is also fully polished.  The style of this box is similar to the earlier ones made at San Ildefonso in the 1920’s.    For such a small piece, it is wonderfully intricate in design!  The box and lid are both signed on the bottom.

$ 1,800.00
Sanchez, Russell  – Long Neck Jar with Avanyu & Shell Lid (2007)

Russell Sanchez continues to use traditional techniques and materials to create his stunning works in clay.  This long neck jar is made in the style of Russell’s great-aunt Rose Gonzales. The jar is from 2007 and has a blue ribbon from the Heard Indian Market.  The jar is fully polished and has  an avanyu etched around the shoulder. The body of the jar is polished red while the neck is polished brown. The lid is red and has a matte shell carved on the top of the lid.  In the neck there are 9 bands of hei-shi beads in shell and turquoise. There are additional bands of hei-shi beads on the lid and the around the shoulder. The eye and the body of the jar also have inset turquoise.  The jar is signed on the bottom in the clay.

$ 16,000.00
Fender, Erik – Large Water Jar with Feather Pattern

Erik Fender is the son of Martha Appleleaf and the grandson of noted potter Carmelita Dunlap. Erik combines classic San Ildefonso imagery with his own creative style. His pottery is signed, with his Tewa name, “Than Tsideh”.  This is a classic San Ildefonso water jar with a high shoulder.  The design is painted on the polished surface. There is a feather pattern separated by a rain and cloud design.  Note the precision of his painting!  It is nearly perfect! Around the shoulder is a cloud pattern.  The jar is fired a distinctive coloration.  It is signed on the bottom.

$ 975.00
Gutierrez, Helen – Small Feather Jar (1980’s)

Helen Gutierrez (1935-1993) was a daughter of Isabel Atencio, a sister of Gilbert Atencio and the mother of Geraldine, Carol and Rose Gutierrez. She was known for her traditional San Ildefonso pottery.  This jar is highly polished and painted with a feather pattern.  The design and style are classic for San Ildefonso.  The jar is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 200.00
Martinez, Adam – Red Bear Clay Figure

This is one of the few bears made by Adam Martinez, a son of Maria Martinez.  Adam typically helped his wife, Santana with their pottery.  He did make some bears in the 1980’s and not only is this one of the few, but one of the only red ones we have come across in a long time.  It is a very simplistic shape, but the face and head are very typical of his bears.  It is highly polished and fired red.  It is signed on the bottom in the clay, “Adam”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a unique piece!

$ 800.00
Martinez, Santana & Adam – Bowl with Feather Pattern (1970’s)

This is a classic tall bowl by Santana and Adam!  This piece is very highly polished and perfectly painted with a feather pattern around the shoulder of the piece.  Above the feather pattern is a tightly painted cloud design. The highly polished surface is perfect for the classic design.  It was Julian Martinez, the husband of Maria Martinez, who began painting the feather pattern.  It was inspired by the feather pattern on a piece of Mimbres pottery from the 1100’s.  The style of feather painted by Santana is very distinctive in form.   The bowl is signed on the bottom in the clay, “Santana + Adam”. It is in very good condition with no chips, cracks, restoration or repair.  Definitely a classic piece of their pottery.

$ 900.00
Sanchez, Russell  – Gunmetal Fired Bear with Heartline and Inlay

Russell Sanchez continues to use traditional techniques and materials to create his stunning works in clay.  This small bear is coil built and incised with a heartline. The bear was fired to achieve a gunmetal appearance to the surface. This is result of how the piece is fired and the temperature achieved. The heartline extends out from the mouth of the bear. The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The back has five bands of hei-shi beads, alternating between turquoise and jet.  The bear is signed on the bottom in the clay.  It is not often that we see such a perfectly fired gunmetal piece!

$ 2,200.00
Sanchez, Russell  – “Grizzly” Bear with Heartline and Inlaid Shell

Russell Sanchez continues to use traditional techniques and materials to create his stunning works in clay.  This bear is highly polished and fired to a near gunmetal coloration.  The bear has a sharp ridge on the back, which Russell says makes it a “grizzly bear”, as their fur creates this sort of angle.  The high shine and near metallic appearance of the surface is perfect for the use of the black-lip mother of pearl shell used on the back.  Russell has inlaid a series of the shell dots which create not only a striking appearance with their black luminesence, but also with their texture. They are raised from the surface, which creates a contrast with the smooth polished clay.  There are five strands of shell and turquoise hei-shi beads along the back.  The eyes are turquoise.  The striking combination of colors and textures gives this bear both the appearance of both a historic piece and something that is also almost “industrial” with the feel of the shell inlay and the metallic color of the bear.  The heartline extends out from the mouth of the bear. The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The back has five bands of hei-shi beads, alternating between turquoise and jet.  The bear is signed on the bottom in the clay.

$ 6,400.00
Sanchez, Russell  – Red & Black Bear with Checkerboard and Sun Design

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is one of his classic shapes.  This bear is polished with a deep red clay slip.  The front has a sun pattern with a black mica clay line design in the center. The sun pattern is one that is inspired by the early pottery of Tonita Roybal.  The black of the bear has a black matte section along with a traditional San Ildefonso rain design.  The bear has a heartline which is etched into the clay.  The heartline which extends out from the mouth of the bear. The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.

$ 3,800.00
Sanchez, Russell  – Red and Tan Bear with Sun and Bear Paw Designs

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is distinctive with its head down.  Russell said that he made it so that it would look similar in form to the etched bears that he does (see the last 2 photos).  The bear is fully polished red and the back is tan.  There is a mica slip separating the two sections and mica on the inside of the feet.  The top of the back is etched with sun and bear paw designs.  There are inset jet and turquoise stones. There is jet and turquoise hei-shi beads inset into the back of the bear. Russell said that he double fired the bear, so that it was black fired first, then fired a second time to create the distinctive coloration.  The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.

$ 6,200.00
Sanchez, Russell  – Gunmetal Box with Bears & Bear Lid

While Russell Sanchez is well known for the distinctive pottery and not only the polishing and shapes but the firing. This exceptional box has been fire to a gunmetal finish with a very metallic appearance.  The box has  a square shape with flat sides and a bear lid.  The lid of the box is etched with a cloud pattern and the sides are the rain.  There are stylized bears on the opposing ends.  The inset stones on this piece are hematite, which seem to perfectly match the coloration of the surface of the box!  Russell is one of the few potters working today who can create the full gunmetal color in his firing and it is spectacular!  The hei-shi beads used in Russell’s pottery are all handmade by the Calabaza family of Santo Domingo pueblo.

$ 4,200.00
Martinez, Maria – Plainware Gunmetal Fired Plate (1930’s)

This plate by Maria Martinez is a classic plainware piece of her early pottery.   It was made and polished by Maria but doesn’t have any design painted on the surface.  It is fired to a gunmetal coloration on the front and black on the back.  Finding plainware plates in such great condition is always difficult, as they were often used or scratched over the years.  It is signed, “Marie + Julian” on the back in the clay.  The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 1,800.00
Martinez, Maria  – Bowl with Rain and Cloud Designs “Maria + Santana” (1954-6)

This bowl by Maria Martinez is very traditional in form and design.  It was made an polished by Maria Martinez and painted by her daughter-in-law Santana.  The design is painted around the shoulder and has a cloud, rain and lighting pattern.  The bowl itself very highly polished and it is fired a deep black.   The surface is nearly flawless and it is beautiful in the flow of the design on the slightly curved surface.  It is signed on the back in the clay, “Maria + Santana”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic!

To learn more about Maria’s signatures, click here.

 

$ 1,850.00
Roybal, Tonita – Bowl with Cloud and Water Designs (1930’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is classic shape with the sharp shoulder.  The sloping area to the neck was painted by her husband, Juan Cruz.  The design is wonderful in the flowing pattern with a cloud design at the top and a water design at the bottom.  However, they are mirror images and the result is a pattern which has a very modern appearance.  The bowl is signed on the bottom in the clay, “Tonita + Juan”.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

 

 

 

$ 1,050.00
Blue Corn – Water Jar with Feather Design (1960’s)

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. She learned to make pottery from Maria Martinez at San Ildefonso. This water jar is an early piece of her pottery.  The jar is fully polished and has feathers painted around the neck and shoulder.  The feathers are tightly painted and a nice contrast to the highly polished surface.  The jar is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The jar is in good condition with no chips, cracks, restoration or repair.  There are a few light surface scratches seen in the photos.

$ 975.00
Martinez, Maria  – Jar with Feather Design (Maria + Santana, 1954-6)

This large jar by Maria Martinez is one of her classic pieces in both shape and design.  It was made by Maria Martinez and painted by her daughter-in-law Santana Martinez (the wife of Adam Martinez, Maria’s son).  It is very highly polished and has a glassy surface.  The design is a feather pattern which encircles the shoulder of the jar.  Above the feather pattern is a cloud design. The deep black firing and the tightly painted designs using the matte clay work perfectly together.  The jar is signed on the bottom in the clay, “Maria + Santana”.  It is in very good condition with no chips, cracks, restoration or repair.  Definitely a classic!

To learn more about Maria’s signatures, click here.

$ 4,200.00
Sanchez, Russell  – Gunmetal Fired Water Jar with Avanyu & Gourd Design Base

This is a stunning water jar by Russell Sanchez.  He continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched. The shape is a classic San Ildefonso form with the narrow base and wide shoulder.  Note how after the shoulder there is almost a flatness to the jar before the neck. This is technically difficult to achieve.  The jar is etched with a water serpent (avanyu) before it is fired.  The neck of the jar has melon ribs on the inside, and the bottom of the jar has gourd design indentions.  The raised and indented surfaces are not only technically difficult additions, but add additional dimensions for the light to hit the surface of the piece.  The firing created a near gunmetal or metallic appearance in the surface of the jar. There are also bands of micaceous clay along with hei-shi beads.   It is signed on the bottom in the clay.

$ 7,200.00
Martinez, Maria   – Gunmetal Fired Bowl “Maria Popovi 669”

This gunmetal fired bowl is a striking piece by Maria Martinez and her son, Popovi Da. Maria made and polished the bowl and it was fired by her son, Popovi Da  (1923-1971). Popovi focused on both the painted surfaces of the pottery as well as the firings.  This bowl is a true gunmetal with very strong metallic appearance across most of the surface.  There is even a slight hint of “goldtone” color.  Interestingly, note the photo of the top of the bowl, and you can see from some of the coloration that it was fired upside down!   It is signed on the bottom in the clay, “Maria / Popovi 669”.  The firing date is when the pottery was made, so this bowl was from June, 1969. It is in excellent condition with no chips, cracks, restoration or repair.   Great gunmetal fired pieces by Maria and Popovi with such high polished surface are always stunning and a great addition to any collection!  The very last photo consists of two pieces by Maria and Popovi Da.  The one on the left is a black fired bowl and the other is this piece, which is gunmetal.  I thought it would be helpful to see the difference in coloration.

$ 2,200.00
Sanchez, Russell  – Gunmetal Fired Bear with Heartline

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is one of his classic shapes.  This bear is stone polished and traditionally fired outside. The result is a coloration that is nearly metallic in appearance.   Note how the back of the bear has a more “metallic” appearance than the sides.  The back is the deep red clay and this is how it fired black.  There are two bands of jet hei-shi beads around the back and the eyes are hemitite.  There is an etched heartline on the sides.  The heartline which extends out from the mouth of the bear. The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.

$ 6,800.00
Sanchez, Russell  – Bear Lid Box with Medallions

Russell Sanchez continues to revive historic shapes with is intricate designs and complex slips. This unique box is reminiscent of the boxes from the 1920’s made at San Ildefonso Pueblo.  Boxes are always difficult to make and often crack during drying or the firing stage because of the pull against the flat walls. This box has a deer on one side and a coyote on the other.  On the opposite sides are circular medallions with black mica clay which are etched into geometric corn patterns.  They medallions are surrounded by black (jet) hei-shi beads.  The two animals have turquoise insets.  The base of the box has a “foot”, much like many of the early San Ildefonso vessels.  Here the foot is matte and etched with little dots.  It gives the piece a bit more height and there is something charming about it, especially in person.  The lid of the box has a fully polished bear with an inset piece of turquoise and etched flower designs on the corners.  The red clay used on the box is a deep red, which is the new clay Russell has been using.   It is signed on the bottom in the clay, ‘Russell Sanchez”.

$ 4,200.00
Blue Corn – Bowl with 53 Feathers (1970’s)

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. She learned to make pottery from Maria Martinez at San Ildefonso. This wide bowl is fully polished and painted with 53 feathers on the top of the bowl. The contrast of the matte feathers and the highly polished surface works perfectly!  The bowl is a great shape for the design as there is just a slight dip from the shoulder to the neck which gives added emphasis to the feather pattern.  The bowl is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The bowl is in good condition with no chips, cracks, restoration or repair.  There are a few light surface scratches seen in the photos.

$ 1,400.00
Gonzales, Cavan  – Polychrome Double Shoulder Water Jar

This is a large double shoulder water jar by Cavan Gonzales. He is a descendant of Maria Martinez, through her son Adam Martinez.  Cavan is one of the few potters today who continues to make traditional polychrome pottery.  This jar is slipped with a cream colored clay and then painted with black and red clay slips.  The design is a rain, snow and cloud motif which encircles the jar. The rim is fluted and then painted with a red clay slip on the inside.  The jar has been traditionally fired and it is signed on the bottom in the clay.

 

 

$ 1,800.00
Martinez, Maria – Red Carved Bowl with Rain & Cloud Designs (1930’s), Maria/Julian

This is an unusual carved bowl by Maria Martinez and her husband, Julian.  Maria would make the pottery and Julian would paint, or in this case, carve, the design.  Much of the carved pottery they created was in the early 1930’s.  It is “negative space” carving, as opposed to the linear carving later from Santa Clara.  As well, there is definitely a visual difference between their carved pottery and that of others from the same period.  This bowl has a rain and cloud or thunder pattern carved into the clay.  In the background area where the clay has been carved away the same red slip was applied but left matte.  For Maria and Julian, the carved pottery was never as popular as the painted ware and was also more time consuming.  They made them for a very short period and there remain very few in existence.   This bowl is from the 1930’s and it is signed on the bottom in the clay, “Marie + Julian”.  It is in good condition with no chips, cracks, restoration or repair.  It is definitely a unique piece of history by these exceptional artists!

To learn more about Maria’s signatures, click here.

$ 3,800.00
Aguilar, Susana -Red Bowl with Avanyu (1920’s)

This is a very unusual bowl by Susana Aguilar.  The piece is from the late 1920’s as it was only in 1925-6 that the potters there began making redware.  This piece is painted red-on-red and then outlined with a white clay slip.  The design is a water serpent which encircles the bowl.  There are clouds surrounding the avanyu.  The contrast of the matte red on the highly polished red works well for this bowl.  It is signed on the bottom  in the clay, “Susana”. The bowl is in good condition with no chips, cracks, restoration or repair.  There is some loss of the matte red and white on the back of the design.

San Ildefonso Pottery Innovators -1920-1940

$ 1,150.00
Martinez, Maxamiliana “Anna” – Round Bowl with Wind Design (1920’s)

This is a round bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is an unusual shape being circular. The bowl is painted with a circle and wind pattern.  It is from around 1926 and the tag on the bottom indicates it was from the Indian Market of that time.  The tags with the red border were put on the bottom, with the artist’s name and a number. This piece was #199 and these can actually be found in the ledgers from the Indian Market!  It is amazing that piece like this can survive in such great condition for so long, and have such an important historic provenance.  It is in very good condition with no chips, cracks, restoration or repair.

Click here for more information on the Early San Ildefonso Innovators!

$ 750.00
Sanchez, Russell  – Black & Sienna Lidded Jar with Avanyu

Russell Sanchez is known for his ability to take traditional San Ildefonso forms and designs, and revise them into a more modern appearance.  This jar was fired to nearly a gunmetal metallic appearance.  After the firing, Russell “two toned” the jar to give the top half a sienna coloration. This is achieved by burning off the black to return the clay to its natural color. The bottom of the jar remains gunmetal in appearance.  The jar is etched with a water serpent (avanyu) encircling the shoulder. There are three bands of turquoise hei-shi beads around the shoulder and a single inset of jet for the eye.  The lid is gunmetal in appearance as well, and two-toned on the finial and then inset with a piece of turquoise on each side.  It is an elegant balance of form, design and color.  The jar is signed on the bottom in the clay.  Russell has won numerous awards for his pottery and in 2017 was awarded the prestigious New Mexico Governor’s Award for the Arts.

 

$ 5,200.00
Roybal, Tonita – Gunmetal Bowl with Mountain & Wind Designs (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is one of her “gunmetal” fired bowl.  The metallic coloration is achieve using a very high fire to heat the bowl and create an intense silver appearance on the surface. This bowl is one of her classic shapes with a sharp shoulder.  The designs are mountain, wind and rain patterns.  Note the delicate lines of the painting on the bowl!  The bowl is signed on the bottom in the clay, “Tonita”.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

 

 

$ 1,200.00
Pena, Juanita – Water Jar with Wind and Rain Design

This is a stunning water jar by Juanita Pena. The jar is an elegant shape with a slightly turned in neck.  The jar is painted with small clouds and rain motifs. There are lots of fine lines and swirls. The jar has been fired to a glassy gunmetal appearance.  The jar is in very good condition with  no cracks, restoration or repair.  It is signed on the bottom in the clay, “Juanita”.   Juanita created some truly exceptional early pottery with innovative designs, great condition and a wonderful history.

$ 600.00
Gonzales, Rose – Long Neck Jar with Avanyu

This is a striking long neck jar by Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery.  This form is one of her classic shape with an elongated neck and a sharp shoulder.  There is a cloud design around the neck and it is fully polished.  The area below is matte while the avanyu (water serpent), which is carved around the shoulder, is also highly polished.  The jar is fired to a very high shine, so that there is a striking contrast to the matte and polished areas.  The high shine can be especially seen below the shoulder, where there are areas which are gunmetal (almost a metallic in appearance).  The jar is from the 1970’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.  Rose’s legacy and influence can certainly be seen in the work of Tse-Pe, Dora Tse-Pe and Russell Sanchez.

$ 1,800.00
Blue Corn –  Bowl with Lighter Inset (1972)

Blue Corn is certainly one of the most creative potters of her time with a varied used of clays and firing techniques to create her distinctive pottery.  This is one of her polychrome pieces.  It is polished on the surface and painted with red and black clay slips for the bugs, birds and fish.  On the top of the bowl she has inserted a lighter.  This was not unexpected of pieces from the 1950’s to the 1970’s.  This piece was made as a Christmas gift to Richard Spivey in 1972.  The bowl was signed in the clay on the bottom, “Blue Corn”.   It is in very good condition with no chips, cracks, restoration or repair.  The “striker” can be removed, although the silver inset that holds it is glued into the piece.  I kept the striker with the piece, as it makes for a more interesting part of the history of this piece.

$ 200.00
Gonzales, Cavan  – Polychrome Water Jar with Plant Designs

This is a large water jar by Cavan Gonzales. He is a descendant of Maria Martinez, through her son Adam Martinez.  Cavan is one of the few potters today who continues to make traditional polychrome pottery.  This jar is painted black-on-tan above the shoulder with a plant design.  There are cloud and rain patterns also in black.  Below the shoulder the jar is polished to a high shine.  There are etched cloud, rain and plant patterns in the red area.  There are coral insets around the neck of the jar and a band of hei-shi beads around the shoulder.  Below the shoulder in the red polished area there are inset turquoise stones connected with each of the etched designs.  The jar has been traditionally fired and it is signed on the bottom in the clay.

 

$ 3,600.00
Da, Jarrod – “Yellow Quail” Original Pastel

Jarrod Da has created a distinctive style of painting using pastels for his work. Each piece is hand painted and it is amazing how much detail he is able to achieve in each piece!  His new work is a blend of contemporary themes with San Ildefonso and Pueblo imagery.  This piece is entitled, “Yellow Quail”.  The painting has a large Pueblo style bird, typical of those painted on San Ildefonso pottery. The bird combines various designs, from clouds to rain patterns, to create the imagery. The background has geometric forms, which complement and shadow the bird. Jarrod says of this piece:

These bird pieces celebrate San Ildefonso plate design. These bird designs are rediscovered with more contemporary lines and shapes along with nontraditional colors. These nontraditional colors were used to investigate what new color pallets could be used on flat two dimensional designs.”

The painting is subtle in color but complex in design.  It comes in a black frame and matted. It is signed, “DA 17”.

$ 400.00
Da, Jarrod – “Red Hybird Bee III” Original Pastel

Jarrod Da has created a distinctive style of painting using pastels for his work. Each piece is hand painted and it is amazing how much detail he is able to achieve in each piece!  His new work is a blend of contemporary themes with San Ildefonso and Pueblo imagery.  This piece is entitled, “Red Hybrid Bee III”.  The painting has two bees painted in red and black with Pueblo designs on the wings . They are flying near pueblo painted flowers and with interspersed geometric shapes.  Jarrod wrote of this piece:

Red Hybrid Bee III was created pondering the modern effect we have on honeybees. This is three of a series of mixed media pieces. The design work is influenced through a mix of traditional San Ildefonso Pueblo design and modern deco influences. The fine detail work is done in India ink. This piece is my ode to saving the honeybee and realizing the crucial role they play in this giant organism we call earth.”

The painting is subtle in color but complex in design.  It comes in a black frame and matted. It is signed, “DA 17”.

$ 500.00
Martinez, Maria – Large “Fish” Plate (Maria + Popovi,1956-9)

This is a classic large black plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a fish as the central design.  Fish were among the most common animal designs used by Popovi on his plates and he would fire them in various colors from gunmetal to sienna.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The fish is beautifully painted to capture a sense of motion and fill the entire space.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 25,000.00
Martinez, Maria – Small “Fish” Plate (Maria + Popovi,1956-9)

This is a classic black plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a fish as the central design.  Fish were among the most common animal designs used by Popovi on his plates.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The fish is beautifully painted to capture a sense of motion and fill the entire space.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 5,800.00
Martinez, Maria – “Skunk” Plate (Maria + Popovi,1956-9)

This is a charming black plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a skunk with a plant design.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The skunk is painted much in the way it was on his polychrome pottery.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in excellent condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 6,500.00
Martinez, Maria – “Prancing Deer” Plate (Maria + Popovi,1956-9)

This is a charming black plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a prancing deer with a plant design below.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The deer is beautifully painted in motion.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 5,000.00
Martinez, Maria – “Pueblo Deer” Plate (Maria + Popovi,1956-9), Published

This is a charming gunmetal fired plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a pueblo style deer painted on the surface.  Below the deer is a plant design.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The deer is beautifully painted in motion.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.    The plate is also published in the book, “The Legacy of Maria Poveka Martinez” by Richard Spivey, on page 89.  It is always a plus to have a piece which has been published in a significant book for both future authenticity and value.  The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 6,500.00
Martinez, Maria – Gunmetal Long Neck Jar “Maria Poveka”, 1950’s

In the 1950's Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This small bowl is fired with a near gunmetal appearance.  It is possible as the bowl is turned to see how the gunmetal color (which comes from the firing) give the bowl a lustrous appearance.  It is signed in the clay, “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one tiny blister on the piece which can be seen in the photos.

Maria Martinez Signatures

 

$ 5,300.00
Martinez, Maria – Avanyu Plate (Maria + Popovi 570)

This is classic plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and has a near gunmetal shine.  The avanyu is painted with the traditional horn and clouds around the body. There is a slight curve to the surface and the rim.   It is  signed on the back in the clay, “Maria Popovi 570“. The signature indicates that it was fired in May, 1970.   The plate is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 2,500.00
Blue Corn –  Tall Jar with Feather Design (1970’s)

Blue Corn is certainly one of the most creative potters of her time with a varied used of clays and firing techniques to create her distinctive pottery.  This is one of her distinctive red pieces. The jar is fully polished red and has a feather pattern painted along the body of the piece.  Around the neck is a triangular mountain design. The jar is painted in a buff-on-red style. The highly polished red is in contrast to the matte painted surface.  The jar was traditionally fired to create the coloration.  The jar is signed in the clay on the bottom, “Blue Corn”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 2,000.00
Blue Corn – Jar with Feather Pattern (1970’s)

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. Her learned to make pottery from Maria Martinez at San Ildefonso. This jar is very highly polished and painted with a feather and mountain pattern. There is a striking contrast of the painted areas with the highly polished surface. The shape of the jar is one of her classic shape with the low shoulder. The jar is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one small rub area shown in the photos.

$ 675.00
Martinez, Maria  – Jar with Prayer Feather Designs (Marie + Santana, 1954-6)

This jar by Maria Martinez is one of her classic pieces.  It was made by Maria Martinez and painted by her daughter-in-law Santana Martinez (the wife of Adam Martinez).  It is very highly polished and has a glassy surface.  The design is a prayer feather pattern which is at an angle and then a cloud and rain design. The painting is very crisp and stands out against the highly polished surface.  There are some small areas which are nearly gunmetal in appearance.  The jar is signed on the bottom in the clay, “Marie + Santana”.  It is in very good condition with no chips, cracks, restoration or repair.  Definitely a classic!

To learn more about Maria’s signatures, click here.

$ 1,800.00
Blue Corn – Bowl with Carved Avanyu (1960’s)

While Blue Corn is often best known for her polychrome pottery, she began her career making black pottery. This is one of her earlier pieces from the 1960’s and it is deeply carved with an avanyu.  The style of the carving is much like that seen in other early San Ildefonso potters, with a “cameo style”.  The avanyu encircles the shoulder of the bowl.  The piece is highly polished and fired a deep black.  It is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The bowl is in good condition with no chips, cracks, restoration or repair.

$ 575.00
Sanchez, Russell  – Avanyu Handle Jar with Lid

Russell Sanchez has been taking inspiration from signed historic San Ildefonso pottery for his pieces over the past several years.  This unique jar is inspired by a bowl by his great-great grandmother, Ramona Sanchez Gonzales.  In the second photo the red bowl by Ramona can be seen, with the avanyu in relief on the side.  As well, Tony Da made on jar with lizard handles in 1967-8, which is now in the Phibrook Museum (#7095).  The black and sienna of the jar and the etched medallions are certainly a reference for Russell’s latest piece.  This jar has sienna medallions on each side. They are etched with traditional San Ildefonso birds.  Each medallion is surrounded by two bands of hei-shi beads.  The handles are in the shape of the avanyu, much as on Ramona’s bowl.  The neck of the jar has a cloud pattern and the remainder of the piece is a micaceous clay slip.  The lid is fired to a near gunmetal appearance and has a sienna top and a single inset piece of turquoise.  The bottom of the jar has a “foot” which is reminiscent of historic San Ildefonso pottery and it is also indented. The hei-shi beads are all made by the Calabaza family from Santo Domingo Pueblo.  The jar seamlessly blends the old with the new and creates a new vision of how potters can derive inspiration from the past while creating their own new vessels.

$ 6,200.00
Pena, Juanita – Red Carved Bowl with Avanyu (1930’s)

This wide shoulder bowl by Juanita Pena is from the 1930’s and it is carved with an avanyu as the design.  Juanita and Tony Pena had a particular style to their avanyu with the triangular eye.  As well, the carving was more in the “cameo” style, as note that the avanyu is in raised relief. It is the small details which are so striking on their work, such as the polished rim and the polish at the base of the bowl.  It is signed, “Juanita, San Ildefonso” and it is in very good condition with no chips, cracks, restoration or repair.

San Ildefonso Pottery Innovators -1920-1940

$ 850.00
Sanchez, Desideria – Large Jar with Cloud and Wind Patterns (1920’s)

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This tall jar is a shape that was used by both her and Maria during the 1920’s.  It is a tall shaped jar with a high shoulder.  The jar here is highly polished and has a cloud design painted around the neck and then additional rain and wind designs around the shoulder.  The painted designs here are so bold that they give a very modernistic appearance to the jar. It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 2,000.00
Pena, Isabel – Red & Tan Carved Plate with Avanyu (1930’s)

Isabel Pena was one of the early San Ildefonso potters. This is one of her few carved pieces. It is most likely that she made the plate and then it was carved by her daughter, Terasita.  The style of carving is similar to that of her daughter.  The front of the plate is polished red and carved with an avanyu.  The interior carved area is filled in with the a cream colored clay. The back of the plate is also fully polished and it is tan.  The plate is signed on the back in the clay, “Isabel”.  It is in very good condition with no chips, cracks, restoration or repair.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Terasita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 600.00
Martinez, Terasita & Juan – Large Bowl with Carved Avanyu (1930’s)

This is a fascinating bowl by Terasita Martinez.  She was a daughter of noted potter Isabel Pena. She married Juan Martinez in 1933 and they often worked together on pottery. She also helped her mother with the carving on her pottery.  Terasita’s pottery is very distinctive with the reverse carved style of avanyu.  As well, she had such a short lifespan that she did not make that much pottery, and even less of it seems to have survived over time.  Interestingly, we see have come across pieces of her pottery mis-attributed to “Terasita Naranjo”.  However, the carving style  and designs are completely different. This jar is signed, “Terasita & Juan”.  It is in very good condition with no chips, cracks, restoration or repair.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 800.00
Roybal, Tonita – Water Jar with Avanyu Design (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is a classic shape for Tonita, with the low, round shoulder and the turned out rim.  What is unusual is the use of the avanyu or water serpent, as the design.  She painted a variety of designs, but very rarely depicted the water serpent on her pottery. The jar here is fired to a near gunmetal finish and  it is delicately painted and beautifully polished.  It is signed on the bottom in the clay, “Tonita”  It is in very good condition with no chips, cracks, restoration or repair.

Click here to learn more about the Early San Ildefonso Innovators!

$ 2,200.00
Pena, Isabel – Jar with Step Pattern and Lid

Isabel Pena was one of the early San Ildefonso potters. This is an exceptional jar by Isabel Pena.  It is one of the only lidded pieces of hers we have come across.  The jar is painted with a mountain step pattern and the lid is also painted.  The jar is signed on the bottom in the clay, “Isabel”.  It is in very good condition with no chips, cracks, restoration or repair.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Teresita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

 

For more information on the Early San Ildefonso Innovators, Click Here.

$ 800.00
Gonzales, Rayita – Carved Jar with Avanyu (1930’s)

Rayita Gonzales was a sister of Louis  “Wo-Peen” Gonzales and Raymoncita Gonzales.  She did not make much pottery but it was mostly during the 1930’s. This carved jar is an excellent example of her pottery with a carved water serpent encircling the jar. The style of her carving is very distinctive and especially on the neck with the carving of the lightning and clouds into the negative space.  The jar is signed on the bottom in the clay, “Rayita”.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

For more information on the Early San Ildefonso Innovators, Click Here.

$ 850.00
Martinez, Maxamiliana “Anna” – Large Bowl with Water Designs (1930’s)

This is a large bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is fully polished and painted with water designs around the shoulder. The bowl itself has great coloration with areas which are nearly gunmetal.  The painting is fluid around the entire piece.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Anna”.

Click here for more information on the Early San Ildefonso Innovators!

$ 1,500.00
Aguilar, Susana -Bowl with Avanyu (1920’s)

This is a very distinctive bowl by Susana Aguilar.  The piece is from the 1920’s and it is fully polished and fired to a near gunmetal appearance.  The style of her avanyu is very distinctive with the shape of the horn and the way she painted the mouth. The avanyu of her son, Joe Aguilar, is in very much the same style.  The shape of the bowl is also very classic for her work, with thin walls and a very flat top after the curve of the shoulder.  The bottom of the bowl is also fully polished.  It is signed on the bottom  in the clay, “Susana”. The bowl is in good condition with no chips, cracks, restoration or repair.  It has some scratches on the rim.

San Ildefonso Pottery Innovators -1920-1940

$ 1,075.00
Roybal, Tonita – Bowl with Fineline Mountain and Plant Designs (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This has long been one of my favorite bowls by Tonita.  The shape is perfect with the sharp shoulder and sloping angle.  The design is boldly painted with a mountain pattern which has lines painted in the center.  There are additional small plant designs.  Like much of her work, it is the gunmetal coloration, achieve during the heat of the firing, which gives the bowl its dynamic appearance.  The silver surface above the shoulder accentuate the design and give it a dynamic appearance. The bowl is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.

 

 

 

$ 1,600.00
Aguilar, Susana – Large Plate with Butterfly Design (1920’s)

It is not often that we see such a large plate by Susana Aguilar.  This is a striking piece of her pottery from the 1920’s.  It is as much an open bowl as a large plate. The front is slipped and highly polished while the back is wet polished.  The design is very intricately painted with a butterfly or moth as the design.  Interestingly, the word for both “moth” and “butterfly” is the same in Tewa (Thanks for the info Russell!!).  The design combines geometric and fine line elements. The butterfly shape can be seen with antennae at the top, the wings at the side.  I took a variety of different angles for the photos to show off both the polish and the design. The plate is signed on the back in clay slip, “Susanna”.  It is in very good condition with no chips, cracks, restoration or repair.

San Ildefonso Pottery Innovators -1920-1940

$ 2,400.00
Pena, Isabel – Large Jar with Snow Patterns

Isabel Pena was one of the early San Ildefonso potters. This is one of the largest of her black-on-black bowls we have seen. It  has a snow pattern as the design.  It is a complex pattern that encompasses the surface of the jar.  It is signed on the bottom in the clay, “Isabel Pena”.  It is in good condition with no cracks, restoration or repair.  There are a few little rubs and a small chip on the inside of the rim.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Teresita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 600.00
Gonzales, Juanita – Large Bowl with Carved Rain Designs (1930’s)

This bowl is one of the larger bowls we have had  by Juanita and Wo-Peen Gonzales.  It is carved with the cameo style which Juanita learned from Rose Gonzales.  It has a flowing design on the shoulder with rain and lightning designs separated by mountains.  The carving is deep and perfectly fits the shape of the bowl.  It is in very good condition with no chips, cracks, restoration or repair.    The bowl is signed on the bottom in the clay, “Juanita”.   It is great to find one of their pieces in such wonderful condition!

Click here to read more about the “Early San Ildefonso Innovators”

$ 1,200.00
Martinez, Maxamiliana “Anna” – Black-on-Red Bowl with Sun and Rainbow (1920’s)

This is a striking wide bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.  It is one of her few black-on-red pieces.  The jar has a sun design (the center checkerboard) with a rainbow pattern above and an overall tablita appearance.  The shape is a classic one for Anna with a wide sharp shoulder.  The red is a very deep coloration on this bowl and the painting creative in style   It is unsigned but easy to attribute to Anna.   It is in very good condition with no chips, cracks, restoration or repair.

San Ildefonso Pottery Innovators -1920-1940

$ 3,800.00
Montoya, Florentino & Martina – Large Fineline Jar (1905-10)

This is an extraordinary large jar by Florentino & Martina Montoya from around 1910.  Johnathan Batkin wrote about them, “The pottery of this husband and wife team is that of artist and innovators who introduced new materials and techniques to other potters. Martina’s experimentation with shapes and slips, and Florintino’s distinctive painting style facilitate the identification of many of their pots. [They] were active during a period of change in San Ildefonso pottery.”  I have included them in our “Early San Ildefonso Innovators” Show as they are the precursors to the changes and innovations in the 1920’s.  Looking at this jar, is is inspiring in the size, shape and designs.  The jar is thin walled and perfectly formed.  However, as with much of the San Ildefonso pottery, it is the shape which is so extraordinary.  The varied designs as the jar is turned is a hallmark of Florentino. The fineline hatchmark patterns along with the delicate plant swirls are almost unexpected on this large jar.  There is so little repetition that each quarter turn seems to evoke a new jar.  It was pottery like this jar which inspired these Early San Ildefonso Innovators.  Maria and other noted that Florentino was one of the finest painters they knew. His early passing during the influenza epidemic, along with so many others, changed the world of San Ildefonso.  This jar is unsigned but easily attributed to Florentino and Martina by shape and design.  I’ve been pleased that numerous other experts, beyond myself (I won’t claim extensive expertise here) all agree that this is one of their classic and more refined vessels.  It is in very good condition with no cracks, restoration or repair.  There are few small rim chips, but nothing unexpected with its age or size.  Simply said, historically important and a classic!

Click here to read more about the “Early San Ildefonso Innovators”

$ 15,000.00
Martinez, Maxamiliana “Anna” – Black-on-Red Jar with Tablita Design Figure (1920’s)

This is a striking wide bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.  It is one of her few black-on-red pieces.  The jar has a sun design (the center checkerboard) with a rainbow pattern above and an overall tablita appearance.  The shape is a classic one for Anna with a wide sharp shoulder.  The red is a very deep coloration on this bowl and the painting creative in style   It is unsigned but easy to attribute to Anna.  But more to the point on the attribution I looked at several signed pieces I had in the past by Anna and compared the angle of the base (when it is in the puki) and the angle of the sides.  The puki used and shapes are typically individual to each artist.  Note the last photo with this jar by Anna on one side and a black-on-black signed piece by her on the right.  It is then easier to see how this is one of the shapes she created for her pottery.  This wide bowl is in very good condition with no chips, cracks, restoration or repair.

Special Thanks to Russell Sanchez for his identification of designs and also working on the attribution for this bowl with me.

San Ildefonso Pottery Innovators -1920-1940

San Ildefonso Pottery Innovators -1920-1940

$ 3,600.00
Aguilar, Rosalie & Joe – Plate with Avanyu Designs (1920’s)

Rosalie and Joe Aguilar created some exceptional pottery during brief career working together.  It is often their plates which are the most visually striking and complex of their work.  This plate is a complicated and fascinating design. There are two avanyu heads on either side where the circle is the eye and each has an elongated tongue. They are connected with a water design and the step pattern is the mountain. The “x” design in the center is the turkey track.  The fineline checkerboard areas area exceptionally well painted.  The piece has a very modern appearance with the placement of the imagery yet it is one from the 1920’s.  This plate is in very good condition with no chips, cracks, restoration or  repair.  There are a few light surface scratches.  It is signed on the back, “Rosalie + Joe”.

Click here to read more about the “Early San Ildefonso Innovators”

$ 1,200.00
Naranjo, Florence Aguilar – Polychrome Jar with Cloud, Rain and Snow Designs (1950s’)

Florence Naranjo is a daughter of noted potters Rosalie & Joe Aguilar and a granddaughter of Susana Aguilar.  This is one of her few polychrome pieces of pottery. The jar is fully painted with black and red rain, cloud and snow patterns on a cream background.  The jar is a classic San Ildefonso water jar shape.  It is signed on the bottom, “Florence Naranjo”.  It is good condition with no chips, cracks, restoration or repair.

Click here to learn more about the Early San Ildefonso Innovators!

$ 400.00
Roybal, Juan Cruz – Bowl with Bird Wing Designs (1940’s)

Juan Cruz Roybal is one of the great painters in San Ildefonso pottery.  He worked on pottery with his wife, Tonita, and often painted for other potters after her death in 1945.  Juan was known for his very distinctive style of painting using fine lines and flowing designs.  This is an unusual bowl which is just signed, “Juan”.  It has his very distinctive style of painting with a bird wing pattern.  It may be that he painted on a series of pieces which remained unfinished after the passing of Tonita. It is in good condition with some surface wear but no no chips, cracks, restoration or repair.

Click here to learn more about the Early San Ildefonso Innovators!

$ 150.00
Montoya, Simona Pena – Wide Bowl with Rain Designs (1920’s)

This is one of the only pieces we have ever seen by Simona Pena Montoya Naranjo (1902-82).  She was a daughter of Juan and Isabelita Pena.  She did not make much pottery and this bowl is from the 1920’s.  The bowl is signed, “Simona M.” and that was during the 1920’s when she was first married.  Her second marriage made her a Naranjo.  The bowl has painted triangular designed around the shoulder.  It is fully polished if a bit heavy to one side.  The bowl is in very good condition with no chips, cracks, restoration or repair.  Definitely a unique piece!

 

San Ildefonso Pottery Innovators -1920-1940

$ 125.00
Aguilar, Joe – Whirling Water Design Polychrome Plate (1950’s)

Joe Aguilar began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques and designs for his work. This is an exceptional plate painted with polychrome designs. The center is a fineline pattern, which was often seen in the earlier black-on-black pottery. The central medallion then becomes a whirling circle of water with the extensions of the plant designs.  The plate is in very good condition with no cracks, restoration or repair. There are two small areas where the white slip has flaked away.  It is signed on the back, “Joe Aguilar”.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 1,000.00
Aguilar, Joe – Polychrome Plate with Birds (1950’s)

Joe Aguilar began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques and designs for his work. This plate is a very stylized birds as the design.  The style of painting, with the central square and the spiraling designs is very similar to his earlier black-on-black painted pottery. The plate is signed on the back, “Joe Aguilar + Katherine”.  Katherine was his daughter.   It is in very good condition with no chips, cracks, restoration or repair.

Click here to read more about the “Early San Ildefonso Innovators”

$ 850.00
Martinez, Maria – Plainware Bowl “Maria Poveka”, 1950’s

In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This small bowl is fired with a near gunmetal appearance.  It is possible as the bowl is turned to see how the gunmetal color (which comes from the firing) give the bowl a lustrous appearance.  It is signed in the clay, “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one tiny blister on the piece which can be seen in the photos.

$ 950.00
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
Sanchez, Russell & Arthur Lopez – Immaculate Conception & Avanyu Jar

Russell Sanchez (San Ildefonso) and Arthur Lopez (Spanish), have created unique collaborative works for the first time this year.  The vessel was made by Russell and stone polished with a black clay. The wood sections were carved by Arthur.  After the piece is carved, is covered in gesso (a glue made from rabbit hide) which is allowed to dry and then sanded.  It is painted with both natural and water color pigment.  Natural colored pigments, such as the brown, are derived from black walnut hulls.  Russell uses traditional clay from San Ildefonso, which is then coil built, stone polished and traditionally fired.  These are the time involved and historic foundations for this collaboration.

The jar has a black and red polished surface. The neck and base are polished black and there are very classic San Ildefonso style handles.  The central band is polished with a deep red clay. There are inset bands of turquoise hei-shi beads.  The coloration of the firing of the black is deep and a striking complement to the deep red.

Arthur and Russell said of this jar:

This jar combines to similar concepts, the Immaculate Conception and the pueblo Avanyu.  The vessel is a classic San Ildefonso water jar.  The black, red and tan are representative of the San Ildefonso polychrome pottery.  The jar is a “pot within a pot”, where the outer pot represents the acceptance of the pueblos of Catholicism.  People looked at the religion and not how it was forced on the pueblo people.  The avanyu (water serpent) encircling the back of the jar is representative of the avanyu as a symbol of cleansing.  In a similar manner the wood lid is a representation of the Immaculate Conception.  The painted section is painted in a Spanish style and has baby Jesus and a lamb, representing ‘the Lamb of God’.  So, much as the, “lamb of God washes away the sins of the world”, the avanyu is a cleansing force in the Pueblo world.

$ 11,500.00
Roybal, Tonita – Oval Shallow Bowl with Lightning Designs (1920’s)

This is a charming open bowl by Tonita Roybal, from the 1920’s.  It is either a small plate or a small dish.  It is oval and has a slight rim.  The bowl is painted on the inside with a lightning and cloud pattern.  The piece is polished which creates a strong contrast for the design.  The bowl is signed on the back in the clay, “Tonita”.  It is in very good condition with no cracks, restoration or repair. There are few tiny dings on the rim.  Amazingly, the center of the piece is in excellent condition!

 

$ 675.00
Gonzales, Cavan  – Polychrome Open Bowl with Corn and Plant Designs

This open bowl by Cavan Gonzales is classic design in polychrome pottery.  Cavan is a descendant of Maria Martinez and a son of Barbara Gonzales.  This open bowl has a corn and plant design painted in the center.  The black and red are clay slips which are used to create the coloration. The bowl is signed on the back.

 

$ 400.00
Sanchez, Russell  – Black-and-Red Bowl with Corn Designs & Lid

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bowl is a classic shape and the body is fully polished black.  The design is a corn pattern (note the dot in the center) etched as a checkerboard pattern.  Surrounding the corn is a sun design.  This “flower” like pattern is one that was originated by Tonita Roybal and found on her work from the early 1920’s.  Separating each of the sections is a matte red cloud pattern.  The designs fits perfectly to the shape of the bowl and elegant flow of design.  The neck of the bowl is fully polished a very deep red.  The lid is inspired by the dome lids of early San Ildefonso pottery.  The combination of the black, red, buff and matte red make this a true-polychrome vessel.  There is additional black hei-shi beads inset into the jar.  Russell has brought back the deep red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  It is an extraordinary coloration!  For the polished black mica, Russell said that he was inspired by the use of the micaceous clay on utilitarian vessels and how he could use it to better match his highly polished surfaces.  The result is a black stone polished micaceous surface which has a high shine and a color that somehow ranges from gray to black to almost a blue, depending on the light!  It is quite exceptional!  The bowl is signed on the bottom in the clay.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 7,400.00
Sanchez, Russell  – Black-and-Red Water Jar with Raindrop Rim

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This is a classic double shoulder water jar. At the shoulder the jar reaches a sharp edge and drops down before it rises up to the double shoulder and the neck.  The body of the piece is polished with a black clay while there is a single band of deep red polished area.  The rim of the jar is polished a deep red and it is fluted or has a “raindrop rim”, as it is traditionally called.  Separating the various carved and clay colored areas are shell and turquoise hei-shi beads.  The three strands of white add a striking complement to the red and black areas.  Russell said that he was inspired by the use of the black  mica clay on utilitarian vessels and how he could use it to better match his highly polished surfaces.  The result is a black stone polished surface which has a high shine and a color that somehow ranges from gray to black to almost a blue, depending on the light!  It is quite exceptional!  The red is a recent addition to his pottery, and again, harkens to the early San Ildefonso pottery.   The bottom of the jar is indented, which reflects the historic San Ildefonso pottery with the indented base which would be worn on the head.   The jar is signed on the bottom in the clay.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 5,500.00
Sanchez, Russell  – Black-and-Red Bowl with Bear Lid

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  The bowl is polished with a black clay and there is a single band of deep red.  Separating the black and red stone polished areas are two bands of turquoise hei-shi beads.  The lid to the bowl is a bear which is also polished black. Note how inside the bear legs it is the red clay slip. The proportionality of the bear and the bowl work perfectly!  Russell said that he was inspired by the use of the black  mica clay on utilitarian vessels and how he could use it to better match his highly polished surfaces.  The result is a black stone polished surface which has a high shine and a color that somehow ranges from gray to black to almost a blue, depending on the light!  It is quite exceptional!  The red is a recent addition to his pottery, and again, harkens to the early San Ildefonso pottery.  The jar is signed on the bottom in the clay.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 3,600.00
Martinez, Maria – Gunmetal Long Neck Avanyu Design Jar Double Signed “Maria Popovi” (1956-8)

This large long neck water jar is stunning piece by Maria Martinez and her son, Popovi Da. Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and has a water serpent (avanyu) as the design.  The neck has a high shine between gunmetal and deep black.  This is an early piece by Maria and Popovi, when he was just beginning to sign the pottery with Maria.  It is also a larger piece of their pottery with the classic elongated neck.  Finding larger pieces in such great condition is always an exciting testament to their creativity and skill as potters!  What is definitely unique about this jar is the double signature!  The jar is signed on the bottom in the clay, “Maria Popovi“.  However, it is also signed on the side in the clay and polished over!  I have to admit I didn’t even see it until I was photographing the jar and it showed up in the bright light.  That is definitely something that I have not seen often!  The signature indicates that it was made between 1956 and 1959.   The jar is in very good condition with no chips, cracks, restoration or repair.  There is one small rub on the side.

To learn more about Maria’s signatures, click here.

 

$ 15,000.00
Vigil, Albert & Josephine – Red Bowl with Rain and Cloud Patterns (1980’s)

Albert and Josephine Vigil worked together on their pottery. Albert Vigil (1927-2009) was a nephew of Maria Martinez. He was the son of painter Romando Vigil, one of the members of the San Ildefonso School of watercolor artists. Josephine Cordova Vigil (1927-2001) was from Taos Pueblo. She moved to San Ildefonso when she married Albert. Josephine learned pottery making by watching her aunts-in-law Maria Martinez and Clara Montoya. Maria taught her how to shape the clay and Clara taught her how to polish.  They began making pottery in 1945.  This bowl is polished red and has a red painted cloud and rain design. Their later work was typically buff-on-red while this bowl is red-on-red.  It is signed on the bottom in the clay, “Albert + Josephine”.  It is in excellent condition with no chips, cracks, restoration or repair.

 

$ 550.00
Sanchez, Russell  – Large Long Neck Jar with Avanyu & Lid

Stunning! This is one of the largest pieces we have had from Russell Sanchez in a while!  It is a classic shape with an innovative use of clay and design.  The shape of the has a low sharp shoulder and a long neck.  The shape of the jar is a classic which is typically seen in the work of his aunt, Rose Gonzales.  The jar is fired black and incised with a water serpent around the shoulder.  There is a single piece of inset turquoise for the eye. The neck of the jar is fully polished and then two-toned green at the rim with an incised mountain pattern.  There are also additional insets of turquoise hei-shi beads.  The lid has a rectangular finial with a carved “key hole” design.  The edges are polished and the top of the lid is incised, two-toned and inset with two pieces of turquoise.  The bottom of the jar has a “foot” which is reminiscent of historic San Ildefonso pottery and it is also indented.  The gunmetal firing of the jar can easily be seen in the area on the neck below the green band, where there is a “halo” of black.  The hei-shi beads are all made by the Calabaza family from Santo Domingo Pueblo.  The exciting addition to this jar is that we were there when it was fired!  There are additional photos of the piece before and right after the traditional firing at Russell’s house.  What a great piece of provenance to add to this important jar!

$ 9,800.00
Pena, Isabel – Bowl with Mountain Designs (1930’s)

Isabel Pena was one of the early San Ildefonso potters. This bowl is one of her black-on-black pieces.  It is painted with a angular mountain pattern.  The bowl is highly polished and boldly painted.  The bowl is signed on the bottom in the clay, “Isabel”.  It is in good condition with no chips, cracks, restoration or repair.  It is slightly off center. Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Teresita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 100.00
Martinez, Maria – Fully Polished Open Bowl, “Maria Poveka”, 1950’s

During the 1950’s Maria Martinez made and polished pottery and signed using her Tewa name, “Maria Poveka”.  Poveka means “Water Lilly”.  This is one of her classic open bowls, which are polished on both the inside and outside. Interestingly, today, few potters will attempt to fully polish the inside and outside of a piece, as it adds the possibility of it cracking.  The bowl is very highly polished and there are small areas of gunmetal and coloration in the black from the heat of the firing.  The bowl is signed in the clay on the bottom, “Maria Pove’ka”.   It is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 1,550.00
Martinez, Maria – Small Feather Jar “Maria Popovi 467”

This is a classic jar by Maria Martinez and her son, Popovi Da.  Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and has a feather pattern around the shoulder.  It is the firing which has given it the striking surface.  It has a black to gunmetal firing.  It is  signed on the bottom in the clay, “Maria Popovi 467“. The signature indicates that it was made around in April, 1967.   The jar is in very good condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 2,800.00
Sale!
Gutierrez, Rose – Red Bowl with Spider & Flower

Rose Gutierrez is a daughter of noted potter Helen Gutierrez and a sister of Geraldine Gutierrez and Kathy Gutierrez.  This is a simple bowl with a flower motif around the rim painted with cream colored clay.   The side of bowl has a painted spider as well as one on the inside. The bowl is signed on the bottom in the clay.

$ 75.00 $ 55.00
Gonzales, Rose – Wedding Vase with Mountain Designs

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery. This wedding vase is from the 1960’s. It is painted with a plant design on two sides and a very intricate mountain design on the sides.  Note the use of the linear lines for the mountain!  The wedding vase is fully polished it is not often that we see a wedding vase by Rose.  This piece is signed on the bottom in the clay “Rose”.  It is in very good condition with no chips, cracks, restoration or repair.  There are some scratches near the base of the piece.   Rose’s legacy an certainly be seen in the work of Tse-Pe, Dora Tse-Pe and Russell Sanchez.

$ 750.00
Appleleaf, Martha Fender – Green-on-Black Water Jar

Martha Appleleaf learned to make pottery from her mother, Carmelita Vigil Dunlap. Today she continues to create distinctive pottery with traditional designs.  This is a classic shaped water jar with a sharp shoulder and a micaceous clay rim. The jar has been painted with a green clay slip, which has a very subtle green coloration after the firing. The design is a feather pattern around the shoulder and a prayer feather design around the neck.  Below the shoulder are tadpoles. The jar is signed on the bottom in the clay.

$ 850.00
Da, Tony – Gunmetal & Sienna Jar with Seed Design (1970-1)

While the pottery of Tony Da has been well documented, it is still exciting to have a piece with such an exceptional provenance.  This gunmetal fired jar is an early piece of his pottery from 1970-71.  It is featured in the book, “The Art and Life of Tony Da” on page 57.  The jar is perfectly polished and fired to a gunmetal appearance. The rim has been “two-toned” sienna.  Note how on the black and sienna pieces there is a the sienna color (where the black has been burned back off) and then a “halo” of black and then the gunmetal. The jar is designed around the shoulder and has a seed and a prayer feather pattern.  This is a design that he did not often do in his pottery, which makes it distinctive.  The jar is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  Over the course of a career that spanned from 1967-82, Tony helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.  While he started out as a painter, he made his first pottery in 1967 and his first public showing was at Gallup Ceremonials of that year.

Da, Tony – Gunmetal Jar with Avanyu & Lid (1969)

While the pottery of Tony Da has been well documented, it is still exciting to have a piece with such an exceptional provenance.  This gunmetal fired jar is an early piece of his pottery from 1969, just two years after he began making pottery!   The jar is first featured in the book, “Maria” by Richard Spivey as a full plate (the correct caption is figure 6.25).  It captures the elegance of the shape and the lid.  The second time it is published is in the book, “The Art and Life of Tony Da”.  The shape of the jar reflects Tony having  learned to make pottery from Maria.  It has a round should and an elongated neck.  It is around the shoulder that the water serpent (avanyu) is etched into the clay before the firing. The lid has a long handle and it is formed on the inside so that it fits perfectly on the jar.  The jar was fired by Popovi Da (who fired most of Tony’s gunmetal pottery) and it has a stunning gunmetal appearance.  It is only near the base of the piece that there is more of a black coloration.  The jar is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  Over the course of a career that spanned from 1967-82, Tony helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.  While he started out as a painter, he made his first pottery in 1967 and it’s first public showing was at Gallup Ceremonials of that year.

Gonzales, John – Large Plate with Feather & Avanyu Designs (2003)

This plate by John Gonzales is from 2003.  John was well known for his plate and their intricate etched designs.  This plate is matte tan and the feather design is etched into the clay. The central medallion has a water serpent and in the very center is an inset piece of turquoise. The eye of the avanyu also has a piece of turquoise.  The background area which has been etched away has a micaceous clay slip.  There is also a band of shell hei-shi beads inlaid into the clay near the rim. The plate is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the back.

$ 1,200.00
Tse-Pe, Dora – Red Jar with Avanyu (1990)

This is a classic jar by Dora Tse-Pe.  She learned to make pottery from her mother-in-law Rose Gonzales and continued her work in a similar style of cameo carving. This jar has a water serpent (avanyu) carved around the top of the shoulder.  The avanyu is slipped in a micaceous clay.  There is a single inset piece of turquoise for the eye.  The neck and base of the jar are both fully polished to a very high shine. The contrast of the matte and polished surfaces work perfectly on this jar.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Dora of San Ildefonso”.

$ 1,400.00
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Gonzales, Tse-Pe – Jar with Dance Figure

Tse-Pe Gonzales as a son of noted potter Rose Gonzales.  This jar combines the various techniques for which he was well known.  The jar has a round body and a small neck.  There body of the piece is a matte earth colored nearly-pinkish clay, which comes from near Abique, NM.  The central medallion of the jar is polished green and has a Dance figure and a bear paw as the design.  The etching is tight and the stippling of the background is a visual signature to Tse-Pe’s technique.  It is signed on the bottom with Tse-Pe’s hallmark. It is in excellent condition with no chips, cracks, restoration or repair.

$ 800.00 $ 650.00
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