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

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

No products in the cart.

San Ildefonso PotterySan 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 worldwide 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.

Showing 1–100 of 131 results

grid
list
Tse-Pe & Dora – Black & Sienna Bowl with Avanyu (1972)

Tse-Pe Gonzales and his wife, Dora, began working together around 1971.  Dora would make the pottery and Tse-Pe would etch the designs. This bowl is an exceptional piece of their pottery.  The piece is a round bowl and the design is an avanyu etched around the shoulder of the piece.  There is an inset piece of coral for the eye of the avanyu.  Above the back of the avanyu are clouds, which are two-tone in sienna.  Below the band of etched design, there is a single band of matte clay slip before the polished base of the bowl.  The jar is signed on the bottom in the clay “Tse-Pe and Dora”.    It is in excellent condition with no chips, cracks, restoration or repair.   Tse-Pe and Dora worked individually from 1980-2000, but their early collaborative work remains innovative, creative and of the highest quality even compared to many of today’s potters.

$ 1,200.00
Sanchez, Russell  – Box with Checkerboard Design & Bear Lid

This is a very creative box by Russell Sanchez.  His recent work is a modern take on historic San Ildefonso pottery.  This box is etched with five horizontal bands which alternate between matte and polished areas.  Believe it or not this is very difficult to carve the horizontal lines into the clay and have them all turn out even!  Then there are is the checkerboard pattern.  If you take a closer look you will see that they alternate from polished in one row to matte in the next!  Again, scan in on the photos and check out the precision of the etching on this piece.  It is amazing!  Separating each of the five bands of checkerboard are six bands of hematite hei-shi beads, which give the piece a very modernist appearance.  As for the lid, the bear is very sculptural and it is fully polished while the remainder of the lid is rounded and slipped with mica.  This may seem to be a simple design at first glance and yet it is one of the more precision challenging pieces Russell makes, any line was not perfectly even would throw off the design.  The jar and the lid are both signed on the bottom in the clay.  In terms of the round shape, it is a style of box seen at San Ildefonso in the 1920’s. I included a photo of  Maria Martinez round box from around 1924-5.  This jar is a wonderful revival of a historic shape!

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,800.00
Pino, Peter – Oval Box with Cloud Lid

Peter Pino is a son of Anita Martinez, a grandson of Santana and Adam Martinez and a great-grandson of Maria Martinez.  He is a brother of potters Barbara Gonzales and Kathy Sanchez.  This piece is a classic oval box which is fully polished.  The lid fits into the box and it is also fully polished. The top of the box has a stepped cloud pattern.  The piece is signed on the bottom in the clay, “Peter Pino, San Ildefonso & Helen (Santo Domingo).  It is in excellent condition with no chips, cracks, restoration or repair.

$ 400.00
Martinez, Marvin & Frances – Large Bowl with Avanyu & Feather Design

Marvin Martinez is a great-great-grandson of noted potter Dominguita Pino Martinez, a great-grandson of Maria Martinez and a grandson of Adam and Santana Martinez.  Marvin works with his wife, Frances (from Santa Clara) on their pottery. This large bowl is wide in shape.  It is fully polished and has a feather pattern around the neck and a water serpent around the body of the piece.  It is very intricately painted with a complex design.  The bowl was traditionally fired black  It is signed on the bottom, “Marvin & Frances Martinez”  in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 600.00
Gonzales, John – Red Bowl with Double Avanyu (1997)

This bowl by John Gonzales is from 1997.  It was originally purchased from the gallery here during our first show with John.  The bowl is red on the top and bottom and the center band it tan.  It is etched with four interlocking avanyu (a total of four on the bowl).  The designs are very intricate in John’s typical precision of etching into the clay.  Above and below the band are two rows of turquoise hei-shi beads.   The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “John Gonzales”.

$ 675.00
Gutierrez, Margaret Lou – Large Jar with Feather and Hatchwork Designs (1990’s)

Margaret Lou Gutierrez was the only daughter of noted potters Tonita & Juan Roybal.  She began making pottery in the 1970’s and this is one of her pieces from the 1990’s. This is a larger jar which is fully polished and painted around the shoulder.  The painted designs are variations of feather, cloud and hatch-work designs.  It is a very complex pattern which includes the very elongated feathers for which she is famous.  The hatchwork imagery is also very reminiscent of the painting style of her father, Juan Cruz.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Lou Gutierrez”.  It is hard to see the signature in the photo, but it is clear on the piece. 

$ 600.00
Martinez, Maria – Jar with Rain Designs (1920’s), “Marie”

This bowl is an early piece by Maria Martinez.  The bowl was made and polished by Maria and painted by her husband, Julian. The piece is highly polished and the designs are simple with a cloud pattern at the rim and rain and lightning designs extending down to the shoulder. While the designs are simple, the style is one which perfectly shows off the highly polished surface for which Maria was known.  The bowl is signed on the bottom in the clay, “Marie”. It is in very good condition with no chips, cracks, restoration or repair.

Maria Martinez Signatures

$ 1,850.00
Sanchez, Russell  – Gunmetal Mountain Lion Lidded Box

This is a stunning gunmetal fired box by Russell Sanchez.  The shape is inspired by the historic San Ildefonso boxes from the 1920’s.  The box is fully polished and fired a gunmetal coloration.  On two of the sides, there are mountain lions etched away.  Each mountain lion has an inset piece of Lone Mountain Turquoise.  On the ends are mountain designs with inset hematite beads.  Around the base are two bands of hematite hei-shi beads.  The surround a checkerboard band which is matte and mica slipped.   The lid is a mountain lion lying down and it is fully polished while the base of the lid is mica.  The style of the mountain lion is reminiscent of the stone mountain lions in Bandolier (see last photo).  Russell says here that the mountain lions represent the twin war gods who protect the village. The box has both a striking historic appearance and a contemporary feel.   The box is signed on the bottom, as is the lid.

 

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,000.00
Tafoya, Brenda – Bowl with Hummingbird and Swirl Melon Ribs

Brenda Tafoya is a daughter of Vangie Tafoya and a granddaughter of Maria Sanchez Colaque.  She is known for her incised Jemez pottery.  This bowl is polished red on one half and it is etched with a hummingbird and flowers.  The opposite side is polished tan and there are three carved melon ribs which swirl down from the rim to the base.  It is signed on the bottom in the clay.

$ 150.00
Fender, Erik – Green-on-Black Lidded Round Box

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 round bowl painted with a feather and storm design. The piece has a lid on which is painted a wind pattern.  The piece was fired black then “two-toned” green-on-black.  It is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

$ 500.00
Tse-Pe, Dora – Bowl with Bear Medallion (1991)

This bowl by Dora Tse-Pe is from 1991.  The bowl is fully polished red with a central medallion.  The medallion has a carved bear in black surrounded by a mica slip.  There is a single band of turquoise hei-shi beads.  Check out the side views of the bowl, as you can see the cameo-style of carving for the bear!  It is signed on the bottom in the clay, “Dora of San Ildefonso”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,200.00
Gonzales, Rose – Large Bowl with Feather Design

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 wide bowl is her classic shape with the sharp shoulder.  It is painted on the shoulder with a feather and storm pattern.  The painting is sharp and the bowl is very highly polished.  It is fired a deep black in coloration.  It is signed on the bottom in the clay, “Rose”.  It is in excellent condition with no crack, restoration or repair.

$ 950.00
Gonzales, Rose – Small Bowl with Rain 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 bowl is one of her classic shapes and designs.  It has a sharp shoulder and the bowl is carved in her “cameo style”.  The design is a series of rain and lightning patterns.  It is signed on the bottom in the clay, “Rose”.  It is in excellent condition with no crack, restoration or repair.

$ 500.00
Sanchez, Russell  – Triple “Gourd” Water Jar

This is an exceptional jar by Russell Sanchez.  The piece is a classic water jar shape but with the traditional “gourd” indentions on all the areas of the piece.  The “Gourd Jar” takes its inspiration from the gourd shards used when smoothing out a piece of pottery.  That same piece then can create an indention on the surface of the vessel.  This jar has eight horizontal indentions on the shoulder.  These are the classic “gourd” indentions.  The neck has 12 and the base has 12 vertical gourd indentions. There is a band of checkerboard designs just below the neck and two more rows below the shoulder.  They are mica and matte in coloration.  The rim of the jar is fluted with 24 undulations!  I took a pic of the area under the rim to show how the clay is pushed up to create the fluted form.  This style of rim harkens back to the original name for this type of rim, the “raindrop rim”.   The rim is slipped with mica, as a contrast to the highly polished surfaces.  All of the hei-shi beads are hematite. Russell continues to 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.  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

$ 7,800.00
Sanchez, Russell  – Polychrome Box 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.  This is a round box with a bear lid.  The round shape is one that is seen at San Ildefonso Pueblo as early as the 1920’s (the last photo is a round box by Maria Martinez from the 1920’s).  This box is polished red on the top and bottom band and the center is polished with the polished white clay.  The top band is painted black-on-red with a hatchwork pattern. The central band is etched with a storm pattern and then slipped with red and black clay slips.  The bottom band is polished black and red with matte tan areas to create the checkerboard pattern.  There are three bands of hei-shi beads, two made from jet (black) and one from turquoise.  The lid is a sculptural bear which is polished a deep red and the base if etched with a polychrome corn design.  There are two bands of inset turquoise hei-shi beads.  As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward.  If we stayed stagnant we would no longer exist.”  The box is signed on the bottom in the clay.  It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,000.00
Sanchez, Russell  – Large Red & Black Bear with Summer/Winter 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 large bear is one of his classic shapes.  The piece is coil built and then stone polished a deep red.  The designs on the front are the rain and summer and the back are snow and winter.  Note the variation in the heartline which is a series of dots which flow around the surface.  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 inside of the legs is polished black. The band across the back of the bear has five rows of square hematite and two rows of turquoise.  On the back of the bear are two pieces of Lone Mountain Turquoise.  It is not often that he creates such a large piece and the result is quite stunning.  It is signed on the bottom in the clay.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 16,000.00
Sanchez, Russell  – Polychrome Corn Meal Box

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This box is one of his first incorporating a polished white clay slip!  The white is the same white clay used on historic San Ildefonso polychrome pottery when it was stone polished.  This piece has a culturally inspired shape and design.  The shape is from the traditional “corn meal” boxes, which were used to hold corn meal during Pueblo events. The raised or step area is a mountain.  This box has two old style snakes surrounding it on three sides.  They are slipped with red an black clay.  On the back side is a Sun Katsina design.  Again, etched into the clay and slipped with red and black clay slips along with the white clay.  Below the central design is a row of checkerboard polished black and matte.  The bottom band of design is separated by two inset bands of hematite hei-shi beads.  Not as if this box doesn’t have a lot going on, but check out the inside, which is highly polished black!  There is a band of turquoise beads separating the black from the red.  Simply spectacular!   As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward.  If we stayed stagnant we would no longer exist.”  The box is signed on the bottom in the clay.  The last two photos are the box next to a San Ildefonso polychrome cornmeal box from the early 1900’s, for a comparison of this historic shape and polychrome coloration.  It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,200.00
Sanchez, Russell  – Gunmetal Bowl with Circles and Bear Lid

This is a creative bowl 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. This piece is a round bowl and has 20 circles carved into the clay.  Each is stone polished and they are separated by a mica slip.  The contrast of the polished and micaceous matte surfaces are striking.  Each of the circles is surrounded by a band of hematite hei-shi beads.  So, why hematite?  Russell has begun to use it on his recent pieces for several reasons. There is a traditional aspect in that women wear hematite bracelets when they do certain traditional dances at the Pueblo.  There is also hematite content in the clay slips use on the pottery.  The lid is a fully polished bear which is created with one paw raised. There is a wonderful sculptural aspect to the bear!  The piece is fired to a near gunmetal appearance which is striking with the high polish.  It is signed on the bottom in the clay.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

 

$ 9,800.00
Sanchez, Russell  – Polychrome Jar with Birds, Sun and Lid

This is an exceptional lidded 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.  This jar is a classic early San Ildefonso shape with a round shoulder, sloping sides and a turned out neck.  The base is polished black and the shoulder is polished a deep red.  It is painted “black-on-red” around the shoulder.  The main design area is polished with a cream-colored clay slip.  There are two large birds etched into the clay and they are separated by two sun designs.  Each of the design areas is highlighted with additional black and red clay slips.  The neck is etched with a mountain design and finally, the rim is polished a deep red.  The complementary colors and the variations of polished and matte areas on the jar are stunning!  There is wonderful detail throughout the entire piece.  The lid is fascinating, as the style is one found on some of the earliest San Ildefonso lidded pieces from the 1880’s.  The top half of the lid is polished black while the border is polished with the cream colored clay.  The jar has five bands of jet (black) hei-shi beads.   As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward.  If we stayed stagnant we would no longer exist.”  The jar is signed on the bottom in the clay.  The last photo is an example of this style of lid on an early San Ildefonso polychrome jar.  It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 9,200.00
Martinez, Maria – Large 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 is 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 it was fired a deep black.  It is certainly the classic style of work by Maria.  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.

Maria Martinez Signatures

 

$ 1,850.00
Blue Corn –  Bowl with Feather Pattern (1980s)

While Blue Corn is one of the innovative San Ildefonso potters of the late 1900’s.  She is often best known for her polychrome pottery but began her career making black pottery.  This bowl is from the 1980’s. It is very highly polished and painted with a feather pattern.  The design encircles the entire bowl.  It is fired a deep black.  It is signed in the clay, “Blue Corn”.   The bowl is in excellent condition with no chips, cracks, restoration or repair.

$ 600.00
Blue Corn – Polychrome Jar with Carved Avanyu (1970’s)

Blue Corn is often best known for her polychrome pottery and her creative use of various clay slips on her pottery. She learned to make pottery from Maria Martinez at San Ildefonso.  This is one of her few carved pieces which is also polychrome. The jar is carved with a water serpent (avanyu) encircling the piece.  The bowl is polished tan and the avanyu and the carved areas are outlined with a black clay.  The background area is slipped with a taupe colored clay.  The result is a striking appearance where the depth of the carving is enhanced by the coloration.  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 two small bubbles in the taupe area below the neck of the avanyu, which appear in coloration to have occurred at the time of the firing.

$ 875.00
Martinez, Adam – Black Clay Bear (1980’s)

This black polishhed bear is by Adam Martinez.  Adam was the youngest son of Maria Martinez, and Santana (his wife) painted Maria’s pottery in the 1940-50’s.  Adam made clay bear figures in the 1980’s and 1990s and they are just signed by him.  They are clay and stone polished.  This bear has a stylized head an body.  It is signed on the bottom “Adam”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic piece!

$ 600.00
Sanchez, Russell  – Gunmetal Water Jar with Birds and Waterfall Rim

This is a complex water jar by Russell Sanchez.  The shape of the jar has a form with a rounded shoulder and a turned out rim.  The neck of the jar is fully carved with a “waterfall” rim, which consists of 32 segments.  Each is round out on both the inside and outside!  They are slipped with a micaceous clay.  The shoulder of the jar is fully polished and has three different birds.  Each bird is very delicately etched into the clay with a lot of detail.  The shoulder has diamond-shaped patterns again slipped with mica.  The lower band of design is inspired by the work of Florentino Montoya, from the early 1900’s.  They are flower and seed designs and each is different.  Much like these, Florentino would create one area which was different in a series as a “signature”.  Take a closer look at the seed designs in the plants and see that there is one which is different.  Separating all the sections are inset hematite hei-shi beads.  The So, why hematite?  Russell has begun to use it on his recent pieces for several reasons. There is a traditional aspect in that women wear hematite bracelets when they do certain traditional dances at the Pueblo.  There is also hematite content in the clay slips use on the pottery.  Russell also notes that when he is able to fire his pieces to a gunmetal appearance, the hematite captures the shine and also gives them a contemporary appearance.  As Russell has said:

“I’m a traditionalist all the way through.  Innovation is part of our tradition. You use the same materials and tools that you have, and the same design elements, and the Clay Mother will come through you for what she wants you to do,” he explains. “Instead of doing the same cloud pattern or serpent pattern, you take that and make it your own. So, in fact, everything I’m doing is old, but new.”  Russell Sanchez, Southwest Art Magazine

The jar is highly fired with a near gunmetal appearance to the surface.  The contrasts of polished, mica and polished mica give the jar a dynamic appearance.  It is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 7,000.00
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 eyes are turquoise.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 3,800.00
Pino-Martinez, Dominguita – Black-on-Red Jar (ca 1915)

This is a fascinating jar by Dominguita Pino Martinez.  She was the mother of Cresencia Martinez and Tonita Roybal and the grandmother of Alfonso Roybal (Awa Tsireh), Tomasita Montoya Sanchez, JD Robyal and Margaret Lou Gutierrez.  She was well known by the early 1900’s for her black-on-red pottery.  This jar is a classic example of her work and although it was not signed (she did not sign any of her work), it has a great provenance.  The piece was acquired from Dick Howard, who had shown the jar to Maria Martinez in 1965.  Maria identified it as the work of Dominguita Pino from around 1915.  Dick was one of the great early resources for getting pottery identified by Maria.  Dick had written this out on the receipt for the piece when it was acquired in 1999 (see the last photo). However, it is not just the identification from Dick Howard, but the jar itself is one of her classic styles. The shape with the straight style of neck and the high shoulder are certainly associated with her work. The painting style of the open designs is also in her manner.  Some of her later pieces are more detailed and probably painted by Tonita.  The jar was slipped red and then painted with the black to create the coloration.  It is in very good condition with no cracks, restoration or repair. There is a slight lean to one side and a small chip on the inside rim.

In “Spoken Though Clay” Dick Howard had an interesting quote (he had originally said to Richard Spivey) when talking about identifying historic San Ildefonso pottery.

“Because Maria—and I’ve found this to be true of other potters—considers the potter to be the one who does the potting. The painting is aside from that. Only rarely did she even comment on the painting. Once in a while she’d say, ‘Oh, that’s a nice design.’ But almost always she was really examining the potting, and she’d feel the pot or feel the inside. So unless I asked, as a follow-up, if the potter had also decorated it, she usually didn’t tell me one way or another, which I thought was interesting. Because to my eye what I often see first when I look at the decorated pot is the design, but that wasn’t what she saw. She always just sort of looked through the design.” —Richard Howard, 2000

 

Early San Ildefonso Pottery Innovators -1920-1940

$ 5,800.00
Sanchez, Russell  – Polychrome Bowl with Sun 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 bowl is one of his first incorporating a polished white clay slip!  The white is the same white clay used on historic San Ildefonso polychrome pottery when it was stone polished.  This piece has a culturally inspired design with two different old style Sun Faces.  Each sun is different and they are meant to represent the Summer people and the Winter people at the Pueblo.  Each sun is etched into the white clay and they are highlighted with red and black clay.  The rim has a rain design while the base has mountains with the sun rising.  There is a striking degree of complexity in the etched imagery on this piece!  As well, it is a true polychrome with polished deep red, white, black, light red and matte tan, red and black clay colorations.  There are three inset bands of hematite hei-shi beads which encircle the bowl.  As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward.  If we stayed stagnant we would no longer exist.”  The bottom of the bowl is indented, which reflects the historic San Ildefonso pottery with the indented base which would be worn on the head.   The bowl is signed on the bottom in the clay.  The second to the last photo is of the bowl before it was fired. The last photo is of a similar Sun design from a San Ildefonso plate from the 1920s.  It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,800.00
Daubs, Dennis – Jar with Avanyu and Feathers

Dennis Daubs is known for his intricately incised pottery.  Each piece is coil built, stone polished and the imagery is etched into the surface of the clay.  This jar has a water serpent in one section of the design.  The remainder of the jar has etched feathers, rain and cloud patterns.  The designs are very intricately etched and note the precision of the lines. The piece is signed, “Dennis Daubs”.

$ 200.00
Martinez, Maria – Jar with Rain and Lightning Designs (1930’s)

This is a classic round jar by Maria Martinez and her husband, Julian.  Maria would make the pottery and Julian would paint the design.  This jar has a very round shape and a slight neck.  The design painted on the shoulder is a cloud, rain, and lightning pattern.  It has a striking stylistic pattern using extended lines, half-circles and open space imagery.  The jar has a highly polished surface and a slight gunmetal appearance.  The piece is signed on the bottom in the clay, “Marie + Julian”.  It is in very good condition with no chips, cracks, restoration or repair.   It’s always great to see early work by Maria and Julian in such good condition.

Maria Martinez Signatures

$ 3,500.00
Martinez, Maria – Jar with Cloud Designs (Maria Popovi 769)

This is a short neck 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 the classic cloud, wind and rain pattern which is painted around the shoulder.  The shape is iconic for Maria with the high shoulder and short neck.  While the painting and shape are beautiful, it is the firing which is striking.  The jar has a very gunmetal in coloration to the surface with a very high shine.  The jar is signed on thhttps://kinggalleries.com/maria-martinez-pottery-signatures/e bottom in the clay, “Maria Popovi 769“. The signature indicates that it was made around in July 1969.  The jar is in excellent shape with no condition with no chips, cracks, restoration or repair.

Maria Martinez Signatures

 

$ 4,000.00
Aguilar, Rosalie & Joe – Carved Plate with Ram Dancer (1930’s)

Rosalie and Joe Aguilar created some exceptional pottery throughout their time working together.  In the 1930’s they began to make carved pottery.  This plate is one of their most complex designs.  The design is a Ram Dancer, which is seen at San Ildefonso Pueblo during Feast Day in January.  The Ram Dancer is carved into the clay and there are incised designs on the kilt and legs along with painted designs on the neck and ram’s horn.  Surrounding the figure are cloud, rain and lightning designs.  The background area is matte against the polished surfaces of the design.  The plate is signed on the back in the clay, “Rosalie & Joe”.  It is in very good condition with no chips, cracks, restoration or repair.  There are a few light scratches on the rim and back and a bit of wear along the back of the dancer.  However, nothing unexpected which is not age-related.  This is certainly a unique piece both culturally and artistically. 

Early San Ildefonso Pottery Innovators -1920-1940

 

$ 1,400.00
Sanchez, Desideria – Large Jar with Bird Wing Designs (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 jar is from the 1920’s and has a wide shoulder and sloping sides.  There are three sections of design, each with a stylized bird wing pattern.  There are cloud patterns above the wings and below is a checkerboard design.  Separating each of the sections are a series of small dots.  The jar is highly polished and fired a slivery black coloration.  It is signed on the bottom in the clay, “Desideria”.  It is in very good condition with no chips, cracks, restoration or repair.  It’s great to see a piece of her pottery with such complex designs.

Early San Ildefonso Pottery Innovators -1920-1940

 

$ 1,600.00
Sanchez, Russell  – Polychrome Wedding Vase with Sun Design

This is wedding vase by Russell Sanchez incorporates three different colors of clay.  The top half is a lighter red clay, while the center band has a black clay slip.  The bottom of the vase is a deep red.  The wedding vase is etched with a sun designs extending down towards the base.  Note that one side has a checkerboard pattern etched into the clay while the opposite has dots.  Russell has been taking inspiration from the work of early San Ildefonso potters Tonita Roybal and Florentino Montoya for his designs.  They are not copied but his own interpretation and revival of these creative designs.  The shape of the wedding vase is elegant with a strong proportion between the shoulder and the spouts.  Wedding vases are considered difficult to polish as the handles and spouts create unusual angles and directions in which the piece must be turned.  It was traditionally fired and after the firing Russell inset two bands of jet hei-shi beads.  The vase is signed on the bottom in the clay.   Once again Russell deftly revives historic San Idlefonso designs and stories and uses them for his own contemporary work.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 3,800.00
Martinez, Maria  – Plate with Cloud Designs “Marie + Santana”, 1940’s

This plate by Maria Martinez is one of her classic designs.  It was made and polished by Maria Martinez and painted by her daughter-in-law Santana. It is painted around the rim with a cloud design.  It is a style which Santana often used for her larger plates.  It’s nice to see it on a smaller piece!  The plate is signed on the back, “Marie + Santana”.  It is in good condition with no chips, cracks, restoration or repair but some minor surface scratches.  Definitely a classic!  

Maria Martinez Signatures

$ 1,200.00
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.

Maria Martinez Signatures

 

$ 1,100.00
Sanchez, Russell  – Four-Color Double Lobe Jar with Waterfall Rim

This is an exceptional revival of a historic shape by Russell Sanchez.  The shape of the jar is a “double lobe”.  It is technically difficult to make as the coiling has to round in and out to create each of the “bowls” which seem to be sitting on each other.  Historically, these are inspired by cooking vessels which were set on top of each other.  The bottom section of this jar has angular carved eagle feathers swirling around the piece. They are polished black and the area at the very base is polished a light red.  Above the feathers is a checkerboard band representing corn alternating polished deep red and matte.  The center band, which Russell said was very difficult to polish, is light red coloration. The top “lobe” or bowl of the jar is polished a very deep red.  There are three designs which he has etched to encircle the jar. They range from a koshari to Early San Ildefonso inspired sun and rain designs.  Above and below the center band are checkerboard snow patterns in both black and light red.  Finally, the neck is polished black and the rim is a deep red. The inside of the rim has been carved with melon style ribs creating Russell’s distinctive “waterfall rim”.  There are so many technical aspects to the creation of this jar, from numerous clays to the form itself.  However, the final result is visually striking and very unusual.  The jar is signed on the base in the clay.  Once again Russell harkens to historic San Idlefonso designs and stories and uses them for his own contemporary work.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,800.00
Sanchez, Russell  – Wide Jar with Old Style Birds and Waterfall Lid

This is a distinctive shape jar by Russell Sanchez.  The jar is wide and with a very flat top. The jar is fully polished and the shoulder of the jar is designed with a checkerboard snow pattern using a mica clay slip.  The top is fully stone polished and designed with stylized bird patterns. The birds on this jar certainly have a similarity to those found on Sikyatki pottery, but they are also found on older San Ildefonso pottery as well!  The two birds are different and designed with additional patterns for their bodies.  The tails of the birds are inset with hematite stones while the center of the bodies have a high-grade Kingman turquoise. As old as the designs are, Russell has presented them in a manner that seems very modern!  The lid is highly carved and has “waterfall” ribbed shape with a single piece of turquoise on the top of the lid.  The base of the lid is polished with the ribs are slipped with mica.  The jar is fired a deep black and the mica squares are very metallic in appearance. There are four inset bands of hei-shi beads around the jar.  The bottom of the bowl 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”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 8,800.00
Sanchez, Russell  – Carved Swirl Neck Jar with Bird Tail Design

This is a complex long neck jar by Russell Sanchez.  The shape of the jar is inspired by the work of his great-aunt, Rose Gonzales. The long, straight neck is one which she made famous and which Russell has modified in his current work. Here the neck has 16 carve swirling ribs.  The rim of the jar is polished, as is the interior of the neck.  The body of the jar is an exceptional shape which comes up from the base and then extends nearly flat to the neck!  That is always a difficult transition in coil-built pottery. The body of the jar is fully polished and it is etched with three stylized bird tail designs.  The style of the design is reminiscent of the work of early San Ildefonso innovators such as Tonita Roybal, Rosalie Aguilar, and Juan Cruz.  The transition to the long neck has a single band of mica and there are two bands of hematite hei-shi beads along with inset smaller round beads.  So, why hematite?  Russell has begun to use it on his recent pieces for several reasons. There is a traditional aspect in that women wear hematite bracelets when they do certain traditional dances at the Pueblo.  There is also hematite content in the clay slips use on the pottery.  Russell also notes that when he is able to fire his pieces to a gunmetal appearance, the hematite captures the shine and also gives them a contemporary appearance.  As Russell has said:

“I’m a traditionalist all the way through.  Innovation is part of our tradition. You use the same materials and tools that you have, and the same design elements, and the Clay Mother will come through you for what she wants you to do,” he explains. “Instead of doing the same cloud pattern or serpent pattern, you take that and make it your own. So, in fact, everything I’m doing is old, but new.”  Russell Sanchez, Southwest Art Magazine

The jar is highly fired with a near gunmetal appearance to the surface.  The contrasts of polished, mica and polished mica give the jar a dynamic appearance.  It is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 8,900.00
Sanchez, Russell  – Avanyu Handle Jar with Lid

Russell Sanchez has found inspiration in the signed historic San Ildefonso pottery for both shapes and designs on his pottery.   This unique jar is inspired by a bowl by his great-great-grandmother, Ramona Sanchez Gonzales.  In the last photo, the red bowl by Ramona can be seen, with the avanyu in relief on the side.  As well, Tony Da made a jar with lizard handles in 1967-8, which is now in the Philbrook 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.

$ 5,800.00
Da, Popovi-  Feather Plate (1965)

Popovi Da was a son of noted potter, Maria Martinez.  While he worked with her painting designs on her pottery, he also created a few pieces on his own beginning in 1962.  He was planning to continue making pottery on his own after Maria retired but unfortunately passed away before this could occur.  His pottery pieces are definitely a rarity among Pueblo pottery and it is not often that we come across his work.  This is one of his classic feather plates.  It is fully polished and delicately painted and traditionally fired.  It is signed on the back in the clay, “Popovi 1165” which is the firing date of November, 1965.  That makes this an early piece of his pottery.  The plate is in excellent condition with no chips, cracks, restoration or repair and it is certainly an important addition to any collection!

$ 4,400.00
Sanchez, Russell  – Waterfall Rim Open Bowl

This is a simple but very elegant open bowl by Russell Sanchez.  The shape of the bowl is a classic one for San Ildefonso for holding water.  The interior of the bowl is fully polished and the rim is carved with 36 melon ribs to create a “water fall” rim.  The symmetry of them give the bowl a unique appearance in terms of how the light reflects off the edge.  There is almost a silvery-gunmetal appearance to the rim which seems heightened by the deep black interior.  The exterior is a highly polished and slipped mica, which has a metallic appearance after the firing. While the bowl may seem simple in form, there is an inherent complexity to having it seem so strong with no design.  It is certianly always the challenge to an artist like Russel to restrain themselves and let the clay, form, polish and firing speak for itself.  That is the voice given to this bowl.  The bowl is signed on the bottom in the clay, “Russell”. 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

$ 2,400.00
Tse-Pe, Dora – Black & Sieanna Jar with Turquoise (1991)

This jar by Dora Tse-Pe is from 1991.  It is her classic highly polished surface. The jar itself is carved with an asymmetric opening.  The piece was fired a deep black and then it was two-toned to create the sienna medallion.  In the center of the medallion, there is an inset piece of turquoise.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Dora of San Ildefonso 1991”.

$ 775.00
Martinez, Santana & Adam – Bowl with Feather Designs (1970’s)

This bowl by Santana and Adam Martinez is a smaller but classic piece of their pottery.  Adam was the youngest son of Maria Martinez, and Santana (his wife) painted Maria’s pottery in the 1940-50’s.  The entire surface of this is fully polished.  The design was then painted around the top shoulder of the bowl.  It is a classic feather pattern encircling the piece.  The bowl was traditionally fired to a very dark black appearance.  It is signed on the bottom in the clay, “Santana + Adam”. It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic piece!

$ 600.00
Martinez, Maria   – Gunmetal Bowl with Cloud Designs “Maria Popovi 569”

This gunmetal fired bowl is a classic 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 one of Maria’s classic shapes with her low shoulder and sloping sides. The design is a very tightly painted rain and lightning pattern which encircles the piece. The openness of the design elements reveals the gunmetal coloration from the firing.  The piece is about three-quarters gunmetal with one section that is a darker black.  However, the entire bowl is very highly polished with a “mirror-like” surface. The piece is signed on the bottom in the clay, “Maria / Popovi 569”.  The firing date is when the pottery was made, so this bowl was from May 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!

Maria Martinez Signatures

$ 3,300.00
Sanchez, Russell  – Red and Black Jar with Carved Ribs and Lid

This is a Simple but elegant bowl 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 top of this bowl is carved with hard melon ribs. Each rib extends to the mouth of the piece with a narrow edge.  Each rib is stone polished black.  The lower sections of the bowl are polished a deep red.  Around the side is a checkerboard snow design in black and tan.  The deep red color is a revival by Russell as it is the same red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  Separating the various bands on the side of the jar is inset hematite hei-shi beads.  Note how small they are and the shine!  The lid is polished deep red with a single inset band of hei-shi beads.   The shape, creative design and highly polished surface are striking on this piece.  It is signed on the bottom in the clay.

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

$ 5,400.00
Tse-Pe, Dora – Black and Sienna Long Neck Jar (1982)

This jar by Dora Tse-Pe is from 1982.  It is a classic shape which was often used by her mother-in-law, Rose Gonzales.  The sharp shoulder and long neck create a delicate form.  Dora was renown not just for the shapes of her pottery, but especially her highly polished surfaces. The jar is fired black and the neck is two-tone making the piece “black and sienna”.   It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Dora Tse-Pe ’82”.

$ 675.00
Tse-Pe, Dora – Jar with Cloud Pattern (1978)

This jar by Dora Tse-Pe is from 1978.  It is a classic shape which can often be seen in the work of her mother-in-law, Rose Gonzales.  The jar has a sharp shouler and an elongated neck.  It is carved with a swirl cloud or water pattern around the shoulder.  The rim is sienna while the remainder of the jar is a dark black from the firing. It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Dora Tse-Pe, 1978”.

$ 700.00
Atencio, Isabel & Gilbert Atencio- Buff-on-Red Jar with Rain Designs (1970’s)

Isabel Atencio was a daughter of Nicolasa Montoya (the aunt who taught Maria Martinez to make pottery) and a sister of Rayita Montoya, Santana Montoya and Alfredo Montoya (the first husband of Tonita Roybal). Among her children, Gilbert Atencio is known primarily for his paintings. Her daughters Helen Gutierrez and Angelita Sanchez are both well-known potters.  This is one of her few collaborative pieces with her son, Gilbert.  It is also the largest collaborative piece of their work we have had (ok, we have only had two in over twenty years!).  The jar was made and polished by Isabel and painted by Gilbert.  His is a buff-on-red coloration with rain cloud designs.  It is a striking piece in shape and design.   It is signed, “Belle + Gilbert”.  It is in excellent condition with no chips, cracks, restoration or repair.

Early San Ildefonso Pottery Innovators -1920-1940

$ 1,050.00
Tafoya, Donicia – Jar with Plant Design (1960’s)

Donicia Tafoya was the mother of noted potter Juan Tafoya.  This jar is a striking piece of her pottery.  The jar is a classic shape with a low shoulder and a painted seed design.  It is the firing which is so distinctive on this piece. It is fired to a gunmetal appearance on one side and a darker black on the other.  The jar is signed on the bottom in the clay, “Donicia Tafoya”.  It is in very good condition with no cracks, restoration or repair. 

$ 200.00
Tafoya, Donicia – Bowl with Wind Designs (1950’s)

Donicia Tafoya was the mother of noted potter Juan Tafoya.  This bowl is highly polished and painted with a cloud design around the neck.  It is fired a gunmeatal coloration so it has a silvery appearance.  It is signed on the bottom in the clay, “Donicia Tafoya”.  It is in very good condition with no cracks, restoration or repair. 

$ 150.00
Da, Tony – Red Plate with Antelope (1971)

This is an unusual smaller plate by Tony Da.  Most of the smaller plates made by Tony Da between 1969 and 71 were either gunmetal or black-and-sienna in coloration.  He made very few of the smaller plates in red.  This one has an antelope as the design. Tony would etch the designs into the clay before the pieces were fired. The animals were inspired by the Mimbres imagery from the 1100’s. However, as with much of his work, Tony drew inspiration from these ancient works but did not copy them.  His animals became “spirit animals” and note how the feet of the antelope are its tracks. The animal extends backwards from the tracks to create the distinctive animal with a heartline.  Around the rim are painted lines, in contrast to the incised imagery.  Tony had a short career which spanned from 1967-82.  He 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.   This plate is signed on the back in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  The plate has a metal museum mount stand made for it.   This is certainly a rarity and a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

Da, Tony – Lidded Jar with Feather Design and Turquoise (1971)

This is a spectacular jar by Tony Da.  He had a short career which spanned from 1967-82.  He 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. This jar was originally purchased in 1971. It is fully polished a deep red and the design consists of three sections with a feather pattern.  The feather design on the plates by his grandmother Maria Martinez were iconic by the 1970’s, so Tony created this design as his own variation.  There are three sections of feather separated by inset pieces of turquoise.  As well, the jar has a lid, which is tightly made and it is one of his earliest styles.  The jar is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

Martinez, Maria   – Gunmetal Fired Bowl “Maria Popovi 1268”

This gunmetal fired bowl is a classic 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 gunmetal coloration with a metallic appearance across much of the surface.  It is signed on the bottom in the clay, “Maria / Popovi 1268”.  The firing date is when the pottery was made, so this bowl was from Dec, 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!

Maria Martinez Signatures

$ 2,200.00
Martinez, Maria – Bowl with Mesa & Prayer Feather Design “Marie + Julian” (1920’s)

This bowl by Maria Martinez is a classic of her early pottery from the late 1920’s.  It was made and polished by Maria and then painted by her husband, Julian Martinez (1897-1943).  The bowl is Maria’s classic rounded shoulder shape and the entire piece is fully stone polished, including the base.  The design around the sides is painted with a mesa and a prayer feather pattern. The prayer feathers are held in the hands of Pueblo dancers and are often depicted as a series of triangles one on top of the other.  The bowl is very highly polished and was fired to a gunmetal appearance. This metallic or “gunmetal” was achieved by the heat of the firing and note how the coloration changes as the bowl is turned!  The bowl is signed on the bottom in the clay,  “Marie + Julian”.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one small rub below the shoulder but very little wear on the polished bottom, which is unusual, as one might expect more wear just from moving the bowl around over the past 100 years!

Maria Martinez Signatures

$ 2,200.00
Martinez, Maria – Large Wide 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 but with areas that are gunmetal.  This shape is one which she made, often saying it was made so that it would fit when being held by two hands.   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.

Maria Martinez Signatures

$ 2,200.00
Sanchez, Desideria – Bowl with Cloud & Wind Designs (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 bowl is a round shape and painted with a series of bold line cloud and wind patterns. The thick lines and the style of the imagery give the bowl a very modern appearance and are certainly unusual in the imagery of San Ildefonso.  The firing of the bowl has given it a somewhat gunmetal appearance in areas.  The gunmetal coloration is due to the heat of the firing and note how areas are more black and others are more metallic.   The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 975.00
Martinez, Maria – Bowl with Feather Pattern (Maria Popovi 665)

This is a rounded neck bowl by Maria Martinez and her son, Popovi Da.  Maria made and polished the bowl while it was painted by her son, Popovi Da  (1923-1971). The bowl is highly polished and has the traditional eagle feather pattern painted in matte around the shoulder.  Typical of the work of Popovi Da, the feathers are perfectly painted with each feather nearly the same width as the one next to it. It is remarkable as Popovi painted them free-hand and each feather would be painted over several times. The shape of this bowl is one of Maria’s classics, as the round shoulder accentuated the shape of the feathers.  The firing is a very highly polished black with a mirror-like shine.  The bowl is signed on the bottom in the clay, “Maria Popovi 665“. The signature indicates that it was made around in June 1965.  The jar is in excellent condition with no chips, cracks, restoration or repair.

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

$ 4,400.00
Martinez, Maria – Jar with Plant Design “Marie + Julian” (1930’s)

This jar by Maria Martinez is a classic of her early pottery from the late 1930’s.  It was made and polished by Maria and then painted by her husband, Julian Martinez (1897-1943).  The jar has a distinctive form with a sharp shoulder and a sloping neck.  The design is a plant pattern which extends up from the shoulder to the neck.  The bowl is highly polished and fired a deep black.  It is signed, “Marie + Julian” on the bottom.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one small rub below the shoulder and a small pre-firing indention on the shoulder (last photo).

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

$ 1,800.00
Martinez, Maria  –  Jar with Rain and Plant Designs “Marie + Santana”, 1940’s

This jar by Maria Martinez is one of her classic pieces.  It was made and polished by Maria Martinez and painted by her daughter-in-law Santana. It has a very highly polished surface. The design around the shoulder is a rain and plant pattern.  It is tightly painted while allowing the polished surface of the bowl to remain exposed.  The firing has given the bowl a nearly gunmetal appearance.   The rounded shoulder and sloping neck are an excellent example of Maria’s pottery from this time.  The jar is signed on the bottom, “Marie + Santana”.  It is in good condition with no chips, cracks, restoration or repair.  Definitely a classic!  

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

$ 2,000.00
Martinez, Maria – Jar with Avanyu (Maria Popovi 1069)

This is a short neck 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 the classic water serpent (avanyu) painted around the shoulder. This particular shape, with the round body and the short neck, is one which is easily one of Maria’s most famous forms.  The firing is nearly gunmetal in coloration with a very high shine.  The jar is signed on the bottom in the clay, “Maria Popovi 1069“. The signature indicates that it was made around in October 1969.  The jar is in very good condition with no chips, cracks, restoration or repair.

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

$ 4,400.00
Gonzales, Rose – Red Carved Long Neck Jar

This carved jar is a classic vessel by San Ildefono potter Rose Gonzales.  She 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 jar is carved on the sides with lightning and rain patterns.  Rose was famous for her “cameo” style of carving with the use of negative space and rounded edges.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.

$ 600.00
Aguilar, Rosalie & Joe – Carved Red Jar with Rain Designs (1930’s)

Rosalie and Joe Aguilar created some exceptional pottery throughout their time working together.  In the 1930’s they began to make carved pottery.  This jar has a carve rain and lightning pattern separated by a negative space mountain design.  The jar is polished red and the background area is a matte red clay slip.  The style of the carving is known as “cameo carving”, which was typical at San Ildefonso in the 1930’s. The jar is in is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rosalie + Joe” on the bottom in the clay.

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

$ 600.00
Da, Tony – Red Bowl with Avanyu (1971)

This is a classic smaller red bowl by Tony Da.  He had a short career which spanned from 1967-82.  He 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. This bowl was originally purchased in 1971.  It is fully polished a deep red and etched with the classic avanyu (water serpent).  Tony would etch the designs into the clay before the piece was fired so that there was a sharpness to the designs.  Note the precision of the horn and the clouds on this piece!   The avanyu is symbolic of the village being saved from a flood by the water serpent.  The bowl is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 5,000.00
Martinez, Maria –  Bowl with Cloud and Lightning Designs (1920’s), “Marie”

This is a classic bowl by Maria Martinez from 1920-25.  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 slightly rounded shoulder and the design is painted in the area between the shoulder and the neck.  The pattern is a cloud and lightning design.  The bowl was highly fired to create a near gunmetal (metallic) appearance.  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.

$ 1,800.00
Blue Corn – Polychrome Jar with Feather Pattern and Band Design

This polychrome jar by Blue Corn combines her polished and mica clay slips.  The jar is fully polished tan and then painted with a black clay, a red clay and a micaceous clay band below the shoulder.  The jar was traditionally fired and maybe a bit overfired, as the black areas are lighter in areas and a smoke area can be seen below the shoulder.  The feather pattern is tightly painted and the jar is still striking in appearance and reflect the traditional firing techniques.  The jar is in very good condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Blue Corn”.

$ 800.00
Blue Corn – Polychrome Jar with Feather Pattern

This is striking polychrome jar by Blue Corn.  Blue Corn began by making black-on-black pottery but it is her polychrome potter for which she is the most famous.  This water jar is fully polished tan and then it is painted.  The black is a black clay and the is an additional clay slip.  The jar  has a feather pattern painted along the neck.  Blue Corn used a green clay slip at the tips of the feathers and in the cloud design above.  Interestingly, the body of the jar is all one coloration but as it was traditionally fired outside, the area above the shoulder appears to be a lighter coloration than the base, adding one more visually striking dimension to this piece.  The jar is in good condition with no chips, cracks, restoration or repair. There is one small area of black slip loss and a small air bubble along one feather.  Both can be seen in the same photo.  It is signed on the bottom in the clay, “Blue Corn”.

$ 1,200.00
Blue Corn – Polychrome Jar with Feather Pattern (1976)

This is a classic polychrome jar by Blue Corn.  It was originally purchased in 1976.  Blue Corn began by making black-on-black pottery but it is her polychrome potter for which she is the most famous.  This water jar is fully polished tan and then it is painted.  The black is a black clay and there is an additional red or peach colored clay slip.  The jar has a feather pattern painted along the shoulder and neck.  Around the rim of the jar is a checkerboard pattern.  The jar is in good condition with no chips, cracks, restoration or repair. There are some small areas where the black is lighter.  The jar is signed on the bottom in the clay, “Blue Corn”.

$ 950.00
Aguilar, Rosalie -Bowl with  Cloud and Rain Designs

Rosalie and Joe Aguilar created some exceptional plates during their brief career working together.  This is one of their carved pieces. It has the “cameo” style of carving which was typical at San Ildefonso in the 1930’s.  The design is carved around the neck of the piece.  It is a cloud and rain design.  The remainder of the bowl is fully polished.  It was fired a dark black but with additional small gunmetal colored areas from the firing..  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rosalie + Joe” on the bottom in the clay.

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

$ 475.00
Gutierrez, Helen – Red Bowl with Feather Design (1986)

Helen Gutierrez (1935-1993) was a daughter of Isabel Atencio, a sister of Gilbert Atencio and the mother of Geraldine, Carol, and Rose Gutierrez. She was known for her traditional San Ildefonso pottery.  This bowl is highly polished red.  It is painted with a buff colored clay to create the feather pattern which encircles the piece.  The bowl was traditionally fired red.  The design and style are classic for San Ildefonso.  The bowl is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

$ 425.00
Da, Tony – Bowl with Feather Design and Turquoise (1972-3)

Tony Da had a short career which spanned from 1967-82.  He 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. This bowl is from 1972-3.  It is fully polished red and the design is etched into the clay after firing.  This bowl has two series of eagle feathers etched into the clay.  It was Tony’s modernistic interpretation of the classic feather pattern seen on Maria’s pottery.  Connecting the two sections of the feather there is a triangular design and a single inset piece of turquoise on each side.  The bowl is signed on the bottom in the clay, “DA”.  It is in very good condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 8,000.00
Da, Tony – Turtle with Bear Lid (1975-6), Life and Art of Tony Da p. 82

Tony Da had a short career which spanned from 1967-82.  He 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 Tony made turtle shapes for his figurative pottery, he only made only a few turtles with lids.  This turtle is one of his with a fully polished bear lid.  The body of the turtle is fully polished and etched with a water serpent.  For the inside of the turtle when the lid is removed, there is a silver inset.  This was meant to encompass the open space created when he made the round body.  This turtle is signed on the foot in the clay, “DA”.   It is in very good condition with no chips, cracks, restoration or repair.  The piece is featured in the book, The Art and Life of Tony Da on page 82.

Tony made several types of turtles. His first ones were simple and did not have a lid.  His first lidded turtle was a black one made in 1971.  It is now in a museum collection.  He made 3 or 4 red turtles with bear lids and silver insets between 1972-4.  He made two other major lidded turtles during his career.  One had a turtle lid and the other a lizard lid.  The turtle with the lizard lid was probably his last turtle figure, as it has the most sculptural appearance and detail of any of his other lids.  At this time, we do not know of any other black lidded turtles beyond the one made in 1971.

This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

Da, Tony – Red Clay Bear with Turquoise (1970-1)

Tony Da had a short career which spanned from 1967-82.  Tony began making bears as early as his first show in 1967 at Gallup Ceremonials.  As they evolved they became more sculptural in form.  This bear is an earlier one from around 1970-71.  The bear is fully polished and fired red.   The heartline and the inside of the legs is matte. There are two pieces of turquoise on the back and two for the eyes.  The bear has an incised heartline which is symbolic of the strength of the bear.  The bear is signed on the back foot in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Tse-Pe & Dora – Black & Sienna Jar with Avanyu (1975)

Tse-Pe Gonzales and his wife, Dora, began working together around 1971.  Dora would make the pottery and Tse-Pe would etch the designs. This jar is an exceptional piece of their pottery.  The jar has a round shoulder which comes to a sharp edge and then up to an elongated neck.  The rim is two-tone black and sienna.  The jar itself is fired to striking gunmetal coloration. The avanyu is etched into the clay around the shoulder and there is a single inset of turquoise for the eye.  The jar is signed on the bottom in the clay “Tse-Pe and Dora”.    It is in excellent condition with no chips, cracks, restoration or repair.   Tse-Pe and Dora worked individually from the 1980-2000, but their early collaborative work remains innovative, creative and of the highest quality even compared to many of today’s potters.

$ 1,500.00
Blue Corn – Polychrome Plate with Cloud Designs

This small plate is intricately designed by Blue Corn.  Blue Corn began by making black-on-black pottery but it is her polychrome potter for which she is the most famous.  This plate has a cloud and lightning design painted with a green slip and a prayer feather and rain pattern in brown clay.  It is on a white stone polished surface.  While the plate is small, the design is complex.  It is signed on the back in the clay, “Blue Corn”.  The bowl is in good condition with no chips, cracks, restoration or repair.

$ 600.00
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.

Martinez, Maria – Water Jar with Gourd Indentions (1920’s)

This is certainly one of the most unique jars we have had by Maria Martinez.  The jar is from the 1920’s and it was made by Maria Martinez and her husband, Julian.  It is the actual form, with the indented sections around the shoulder, which is so unusual!  Maria is known for her traditional shapes and highly polished surfaces.  In the 1920’s, this long neck style of jar was one of her most classic forms.  The last image in this post shows her working on a jar with indented sides!  It is not a style which she made after the 1920’s and this is one of the first I have seen in person.  However, each indention is fully polished, as is the entire jar. The neck was painted by Julian and there is a cloud pattern and a turned out neck.  The jar was traditionally fired and has a nearly gunmetal appearance.  It is a creative piece of her pottery and an extraordinary part of the history of her pottery.  The jar is signed, “Marie” in the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  There are few small surface scratches, but nothing unexpected with the age of the jar.  It is not just exciting but an honor to have such a historically important jar come back into the gallery!

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

$ 4,200.00
Martinez, Maxamiliana “Anna” – Jar with Avanyu (1920’s)

This is one of the more complex painted jar we have had by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is fully polished and painted with a water seprent (avanyu), encircling the jar. It is the complexity of the avanyu which makes the piece so distinctive.  Note the fine lines and the clouds above the avanyu.  The jar was fired black and has near-gunmetal appearance.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Anna”.   Why is the work of Anna Martinez important? Interestingly, Maria would often say she was the best painter in the family.  She was married to Cresencio Martinez, who was known for his paintings and was also a brother to Tonita Roybal.  One can begin to see how her talent was easily fostered by those around her making a jar like this simply a classic!

Early San Ildefonso Pottery Innovators -1920-1940

$ 1,800.00
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”

$ 1,400.00
Da, Tony – Red Jar with Avanyu (1972-3)

Tony Da had a short career which spanned from 1967-82.  He 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. This jar with a slightly elongated neck is from 1972-3.  It is a period when the red clay slip was a bit deeper red in coloration.  This bowl is fully polished and has a water serpent (avanyu) as the design. The avanyu is etched into the clay and note the sharpness of the horn. The avanyu is symbolic of the village being saved from a flood by the water serpent.  The bowl is signed on the bottom in the clay, “DA”.  It is in very good condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 9,800.00
Gonzales, Rose – Red Canteen with Ribbon (1965)

This canteen is a classic piece by San Ildefono potter Rose Gonzales.  She 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 canteen is her classic shape for this form.  It is fully polished red with no design.  It still has the original leather strap and wood stopper!  The canteen won a second place at the 1965 Gallup Inter-Tribal Ceremonials.  The piece is signed on the back in the clay, “Rose”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
Gonzales, Rose – Wide Bowl with Rain and Cloud 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 wide bowl is deeply carved with her classic style of rounded edge carving.  The design is a series of cloud and rain patterns which flow through the negative space of the shoulder of the bowl.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rose” on the bottom in the clay.

$ 800.00
Da, Jarrod – “Nambe Butterfly” 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, “Nambe Butterfly”.  Jarrod says of this painting:

“This piece was made after a trip to Nambe falls in northern New Mexico. The design work is influenced from San Ildefonso Pueblo Pottery design along with influences from Deco design. You can see this Deco influence within design elements like the rainbow in the center of the piece with its gradating small circle pattern varying in many colors. The various colors of the circles represents spray coming from the falls and shows that water is not clear but has a whole spectrum of color when light hits it. Traditional Pueblo design is represented through the staircase and kiva designs along with the flower motif in each of the butterfly’s wing is indicative of pottery design.   The butterfly represents the fragility of our eco system and its mission to recreate time and time again.”

The painting is subtle in color but complex in design.  It comes in a black frame and matted. It is signed, “DA 17”.  The photo shows the painting unframed and matted. The second photo is the painting framed on the wall for scale.

$ 1,200.00
Dunlap, Carmelita – Wide Shoulder Jar with Rain Patterns (1979)

Carmelita Dunlap is one of the San Ildefono potters best known for her large vessels.  This jar is smaller for her work, but highly polished and tightly painted. The design is a series of rain and prayer feathers patterns.  The feather patterns vary as the jar is turned.  The jar itself is highly polished and fired a brown-black coloration.  It is this distinctive coloration for which she was best known. The jar is signed on the bottom in the clay, “Carmelita Dunlap”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a smaller classic of her work!

$ 800.00
Gonzales, Cavan  – Black Clay Big Horn Sheep

This large clay Big Horn Sheep is made out of clay by Cavan Gonzales.  Cavan is a descendant of Maria Martinez and the son of Barbara Gonzales.  This piece is polished on the front and then mica slipped on the back.  It has been fired black.  The use of the Big Horn Sheep is a symbolic representation of one’s own self worth.  There are inset bands of hei-shi in turquoise and shell.  It is a striking contrast of matte and polished surfaces.  It is signed on the bottom in the clay.

$ 800.00
Martinez, Santana & Adam – Plate with Seed Designs (1970’s)

This is a classic designed plate by Santana and Adam Martinez.  Adam was the youngest son of Maria Martinez, and Santana painted Maria’s pottery in the 1940-50’s. The plate is stone polished and it is painted with a mountain and seed design.  It was fired a deep black coloration.  The plate is signed on the back in the clay, “Santana + Adam”. It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic piece!

$ 500.00
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
Vigil, Albert & Josephine – Jar with Feather Pattern (1970’s)

Albert and Josephine Vigil worked together on their pottery. Albert Vigil (1927-2009) was the son of painter Romando Vigil, one of the members of the San Ildefonso School of watercolor artists.  He as also a nephew of Maria Martinez. His wife was Josephine Cordova Vigil (1927-2001) 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  This is a larger piece of their pottery with a wide shoulder and an elongated neck. The jar is painted with a feather pattern which extends down from the neck to the shoulder.  It is signed on the bottom in the clay, “Albert + Josephine”.  It is in excellent condition with no chips, cracks, restoration or repair

 

$ 775.00
Gonzales, Ramona Sanchez – Bowl with Cloud Designs (1920’s)

This is a classic bowl by Ramona Gonzales.  Ramona was known for her delicately painted pottery.  This bowl has a cloud and rain pattern painted on the shoulder.  It is a strong graphic image on the bowl.  It was fired a deep black with some areas of gunmetal coloration.  It is signed on the bottom in the clay, “Ramona”.    It is in very good condition with no chips, cracks, restoration or repair.  It is definitely a classic piece of her pottery!

Early San Ildefonso Pottery Innovators -1920-1940

$ 800.00
Aguilar, Joe – Plate with Koshari Clown and Dog (1950’s)

This is a charming plate by Joe Aguilar.  He 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, after the passing of Rosalie, 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 for the polychrome or black-on-white pottery. This plate is painted with a stylized koshari clown as the design.  Off to the side is a dog sitting, watching the dancer.  It is an unusual design, as koshari are rarely if ever depicted in Pueblo pottery.  I was told that he was part of the clown group and so that is why he was able to paint the clowns on his pottery.  The plate is in very good condition with no cracks, restoration or repair.   It is signed on the back, “Joe Aguilar”.  It is from the Dick Howard collection and his inventory number is still on the back.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 800.00
Aguilar, Joe – Terrace Bowl with Avanyus (1950’s)

This is certainly one of the most exceptional pieces we have seen by Joe Aguilar.  He 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, after the passing of Rosalie, 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 for the polychrome or black-on-white pottery. This unique piece is a terraced bowl. The mountain steps are on one side and the center of the bowl is meant to represent the lake below the mountains. There are two avanyu painted along the interior sides of the bowl.  The bowl was traditionally fired and there is a slight dark cast to the cream colored clay due to the smoke in the firing. The interesting part of the firing, however, is that on the bottom you can see fingerprints of where he handled the bowl before it was fired!  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 950.00
Aguilar, Joe – Bowl with Rain Cloud Designs (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, after the passing of Rosalie, 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 wide bowl is slipped red on the inside and creame on the outside.  It is painted in black with a rain cloud and rain designs. The use of the lines in his design was a signature of his painting.  On this bowl the pattern is repeated four times.  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 650.00
Martinez, Maria  – Jar with Feather Design (Maria + Santana, 1954-6)

This is a classic jar by Maria Martinez.  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 has a wide shoulder and a sloping neck. The feather are painted very tightly from the rim to the neck. The bottom of the jar is indented and signed in the clay.   It 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, Santana & Adam – Bowl with Lightning & Mountain Designs (1970’s)

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

$ 600.00
Martinez, Maria – Feather and Bird Wing Plate (Maria + Popovi)

This is a variation on the classic eagle feather design 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 with a deep black shine.  The design has the eagle feathers and the bird wings.  The plate is signed on the back in the clay, “Maria Popovi“. The signature indicates that it was an early piece of their pottery from 1956-9).  The plate is in very good condition with no chips, cracks, restoration or repair. I included photos of the plate turned in different directions to show how the shine appears on the piece.

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

$ 1,700.00
Sanchez, Kathy “Wan Povi” – Black and Sienna Seedpot with Avanyu Design

Kathy “Wan Povi” Sanchez is a great-great granddaughter of Maria Martinez and a sister of Barbara Gonzales.  This bowl is fully polished and etched with an avanyu and feather pattern on the top of the piece.  The area of the rim and the feather pattern are highlighted in sienna.  The remainder of the bowl is fully polished to a high shine.  The bowl is signed, “Wan Povi” on the bottom.  While Kathy makes little pottery today, the technical expertise of her shape, polish and design are certainly evident.  The bowl is in excellent condition with no chips, cracks, restoration or repair.

$ 175.00
Da, Tony – Black & Sienna Plate with Antelope (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 plate is a significant piece in the history of his pottery.  It is one of approximately 6 pieces which he dated during his career.  In 1969 he created a group of plates, of which each was different.  These plates were all dated.  This is the only black and sienna one without a stone, which has a date. The plate was fired a gunmetal silver and then the rim was two-toned to make it sienna.  The design is an antelope, which was etched into the clay before the firing. The antelope style of the design was inspired by the Mimbres pottery of the 1100’s.  While he made other black and sienna plates, this one has a unique historic legacy.  It is signed and dated on the back in the clay, “DA 6 69”.  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 – Original Pen & Ink Painting of Maria Martinez

Tony Da is a name synonymous with innovative pottery and paintings.  However, before he became famous for his pottery he began drawing in the 1960’s.  He was the son of noted potter Popovi Da and the grandson of Maria Martinez.  This is one of about five pen and ink drawings that he did early in his career.  Virtually all the other are in public collections.  This piece is one of his grandmother, Maria Martinez.  The other known pen & ink drawings of Maria are in the permanent collection of the Millicent Rogers Museum in Taos.  This piece has an interesting provenance.  It was made in 1966 for the “Three Generations” exhibition in Washington DC.  The exhibition was partially arranged through some collectors in Texas, with whom Maria, Popovi and Tony stayed on their way to DC.  At the end of the exhibition, this drawing of Maria, along with several other pieces, were acquired by their benefactors in Texas.  The painting is signed, “D’a 66”.   It is in excellent condition. What a great piece of history and this piece is certainly an important addition  to any collection of work by Tony Da or San Ildefonso art.

$ 12,500.00
Sale!
Tse-Pe, Irene – Jar with Carved Cloud Designs

Irene Tse-Pe is a daughter of Dora Tse-Pe and Tse-Pe Gonzales and a granddaughter of Rose Gonzales.  This jar is coil built and carved with cloud pattern around the neck. The carving is in the cameo style made famous by Rose. The jar is slipped with mica to the surface which gives it a bit of a sparkle in the light!  The piece is signed on the bottom in the clay, “Irene Tse-Pe”.  It is in excellent condition with no chips, cracks, restoration or repair.  While Irene no longer makes pottery, it is certainly a striking piece of her creative pottery!

$ 300.00 $ 200.00
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.

Early San Ildefonso Pottery Innovators -1920-1940

$ 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
  • 1
  • 2
Mobile version: Enabled