Santa Clara Pottery

Autumn Borts-Medlock is known for her creative carved pottery.  As well, she has created some dynamic pieces in bronze over the past few years.  This bronze is entitled, “Cosmic Dragonfly”.  It is made in the style of her clay tiles.  The imagery is deeply carved into the clay before it is turned into a bronze.  This piece has a dragonfly int he center with a talking bear paw to the side.  The circles represent the planets and the cosmic connection between the heavens and the earth.  The turquoise colored patina is used on the dragonfly.  The piece is number 8 of 65 on the side.   It is signed and numbered on the bottom.  The bronze is mounted and framed.

This is a tightly carved miniature jar by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This miniature jar is deeply carved with eight feathers.  The area behind the feathers is slipped with a micaceous clay. The feathers and the jar are all stone polished.  It is fired a deep black and signed on the bottom in the clay.

Autumn Borts-Medlock is known for her often fanciful carved pottery. This bowl is carved with two fish as the central design.  Separating the two fish is a clam shell. The fish are polished red while the clam is tan polished and there is a micaceous mauve colored clay.  The top has little round carved circles which are the “air bubbles” and there are also white areas which are the movement of waves.  The piece is a striking use of carving and clay colorations to create a complex design.  The seedpot is from 2002 and it is in excellent condition with no chips, cracks, restoration or repair.

Tina Garcia was well known for her use of traditional shapes in her pottery.  This is a very traditional shaped bowl with the sharp shoulder and the kiva step design carved on the rim.  The steps represent the steps into the kiva ceremonial space.  The bowl is fully polished and fired a deep black. It is signed on the bottom in the clay, “Tina Garcia”  It is in excellent condition with no chips, cracks, restoration or repair.

Helen Shupla was famous for her carved pottery as well as her exceptional melon jars.  This bowl is carved with a water serpent (avanyu) as the design.  Helen’s husband Kenneth Shupla, would often help her with the carving on the pottery.  Note the complexity of her designs and how the tail extends up over the head of the avanyu!  The bowl is highly polished and it is signed on the bottom, “Helen Shupla”  It is in very good condition with no chips, cracks, restoration or repair.

The is among the most refined incised pieces we have seen by Camilio Tafoya. The seedpot is incised on one side with a fish and the other a bird. They are separated by a leaf pattern.  The entire piece is very highly polished and the additional colored clay slips create a striking visual complement to the shine.  The seedpot is from 1982 and it is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

It is not often that Nancy Youngblood finishes a box as complicated or as intricate as this piece!  Boxes are inherently difficult to make with chances that they will crack in the drying or firing stages.  As well, making a box at this size is even more difficult. The result, however, is spectacular. This box has four horses, one on each side.  Nancy won a  “Best of Show” award for one of her first large vessels with a horse on it a few years ago.  For this box, she has taken the horse concept and extrapolated it out onto the entire surface. Each horse is carved in a running position with tails and manes flying.  The muscles are rounded out giving each horse a more defined appearance.  Above each horse is a cloud and raindrops are also carved into the clay. It is the lid which actually ties this piece together.  The top is fully carved with melon ribs which create the “clouds” swirling above the horses. The ribs of the clouds connect to the clouds above the horses, adding another dimension to the box.  Finally, the surface has been polished with Nancy’s trademark high shine.  Using a stone, she polishes the surface to a glassy appearance.  Simply.  Stunning.  The interior and rim of the box are slipped with mica, which is a subtle addition to the piece.  It is signed on the bottom in the clay.  The final photo is of Nancy holding the box, just to give a sense of how big it really is!

Jody Folwell is known for her creative pottery shapes and designs.  This is a classic style for her pottery with a fully polished surface and the asymmetrical mouth.  The rim of the mouth extends down to the shoulder and it is fully polished. The designs are etched into the surface of the clay and various etching techniques are used to create the coloration.  The corn plant pattern is the main imagery and it is surrounded by cloud, rain and Pueblo designs.  The various colorations from black to dark red are all from the traditional outdoor firing.  The bowl is signed on the bottom in the clay, “Jody”.

Susan Folwell (Santa Clara )and Les Namingha (Hopi-Tewa/Zuni) collaborated together for the first time on a series of vessels in a show entitled “Corn:Maiden:Cultures” in 2015. The concept for the exhibition was that the Corn Maiden in Pueblo culture can also be found as a primal female archetype in cultures throughout the world.  There is play back and forth on these vessels as the multi-cultural figures are placed within a Pueblo context as the “Corn Maiden”, who brings the corn, the harvest and life.  This jar has been in an exhibit at the Museum of Indian Art and Culture since 2016.

This large jar was made by Les.  The designs painted by Susan on two sides show a Hopi maiden and a Pueblo maiden.  Her idea was to leave the faces empty, so that they did not represent just one person, but all women.  The two women represent the Pueblo and Hopi ancestry of Les and Susan. Playing from Susan’s more realistic portrayals, Les painted a more modern version of the women on the other two sides.  The angular shape of this vessel, made from Zuni clay, is unusual but also perfect for this important imagery.  In many ways, this powerful jar brings together the ideas of womanhood, femininity, modernism and the continuing importance of the Corn Maiden concept in Pueblo culture.  The dark brown background works perfectly for this intense jar.  Check out more of their exceptional collaborative pottery in the book, “Spoken Through Clay”.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  She learned to make pottery from her father, Joseph Lonewolf. This seedpot has a realistic style of butterfly on the top.  The butterfly is surrounded by flowers. There are various levels of etching on the piece, including some wonderful areas which are just tan.  The polishing has created a high shine.  The seepot is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

This lidded jar by Grace Medicine Flower is from 1989 shows the transition of her work from sgraffito designs to a combination of carved and etched imagery. This jar has an elegant shape and the entire piece is fully polished. The bottom half is fully carved and polished with melon ribs.  Note the sharp edge of each rip and how the area between the ribs are also fully polished!  The area around the shoulder is fully polished and etched with hummingbirds.  The lid is unique with a single melon “rib” cutting across the surface.  It perfectly ties the entire piece together!   It is signed on the bottom, “Grace Medicine Flower”. The jar is in excellent condition with no chips,cracks restoration or repair. It is elegant and stunning!  Over her career she made very few black pieces and yet they are always stunning and creative!

This is an exceptional miniature seedpot by Rosemary Lonewolf!  It is fully designed with three birds and a band of flowers around the shoulder.  Spiraling around the top of the seedpot is a feather design and there is a small flower on the very top! Rosemary has added additional white and blue colorations for the clay on this piece.  The various colors are all derived from natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

Kaa Folwell is one of the exciting young potters working today. This jar has an asymmetrical shape around the rim. The coloration is achieved by polishing the top and bottom areas red and the center tan.  The area around the shoulder is fully incised with “graffiti” designs.  There is a striking flow of design and the various levels of design.  It is a beautiful balance of color, form, and design.  We are excited to see more from this young potter!

Tina Garcia was well known for her focus on traditional shape and plainware Santa Clara pottery. This jar is a classic shape with a long neck and a sharp shoulder.  The rim is fluted and it is also fully polished on the inside.  Typical of her pottery is an elegant shape and the stone polished surface is stunning.  It is signed on the bottom and  it is in excellent condition with no chips, cracks, restoration or repair.

This unique wedding vase by Art Cody Haungooah has been fired black and then two-toned sienna.  The entire piece is fully polished and the center section of the wedding vase is etched with a varied rain, cloud and wind design around the center.  This design has then been re-heated to make it sienna. Note the deeper etching around the designs, which is typical of his work at this time.  It is signed on the bottom in the clay, “Haungoah”, making it an early piece.  However, it was only in 1973 that Art began making black-and-sienna pottery, dating this piece to 1973.  It is in very good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click the link below:

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

This miniatures bowl by Art Cody Haungooah has been fired black.  It is etched on the top with an avanyu and a big horn sheep as the design.  The surrounding area of the design has deep linear etching. The bottom is fully polished.  The bowl is signed on the side in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

This seedpot by Art Cody Haungooah is from 1978.  It is polished red on the bottom and polished on the top with a bluish-gray clay.  The top is etched with a feather design. The clay coloration is unusual and one of the signatures of Art’s pottery style is he deviation from the traditional colors and designs of Santa Clara pottery.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

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

This seedpot by Joseph Lonewolf is from 1997.  The piece is entitled, “Leaping Grasshoppers”.  It includes a signed version of the card which Joseph made for each of his miniatures.  There is also a photo of Joseph holding the piece! Joseph wrote partially of this piece,

“Portrayed side view are two geometrically designed and color-toned grasshoppers.  Representative of the Mimbres Period – 10th to 14th centuries. Both grasshoppers appear to be leaping.  Beneath the plant-eating insects is a higly polished red slipwork symbolic of Mother Earth.  Swirled and jagged to denote “Her” terrain, MOther Earth’s surface is only sparsely vegetated.”

The butterfly etched on the back is symbolic of beauty and the the interlocking rings medallion represents the attachment between friends and was the yearly symbol for 1997.   This piece was actually purchased at our gallery show for Joseph Lonewolf and Grace Medicine Flower in 1998! Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  The piece is signed on the bottom and includes the signed artist card.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a charming miniature by Joseph Lonewolf  Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is entitled, “Lone Chipmunk”.  Joseph wrote of this piece:

“Comprising the front side of this minature is a cheerful, alert, sun-loving little animal, a lone chipmunk.  Below the handsome hoarder, at the base, is the symbol of beauty, a tiny butterfly.  Encircling the chipmunk and comprising the back side are designs symbolic of sun rays and the natural habitat (of the chipmunk).

The surface is fully polished red and there are additional black, white, green and blue clay slips added to create the colorations.  The yearly symbol for 1986 is a “heart” which represents love and Lonewolf says, “in particular a deep devotion for the ancestors and Mother Earth”.  The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is entitled, “Call to the Creatures”.  Joseph wrote of this piece:

“The time has come…the People must stock up on food and clothing once again.  Standing upon the design symbolic of his pathway, the flute player lifts his flute and calls the creatures on the back side of this creation.  Encircled by the musical story coming from his flute, the flute player, symbolic of leadership, tells the rabbit, antelope, ram, and fish to come forth and provide the people all they require”.

This seedpot is very intricately designed with a fourish of the flute player on the piece. There is an additional green clay slip used to highlight the piece. The yearly symbol for 1984 is near the base and it is a rainbow, symbolising a bright future.  The seedpot is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  It includes the original card with the information on the piece.

This is a very early piece by Art Cody Haungooah.  It is an open bowl and it is fully polished. The design is etched into one side of the piece. There is a single Pueblo style bird with deep etching around the design.  The remainder of the bowl is plain.  It was only in 1972 that Art began to make pottery and this piece is signed with his earlies signature, “Haungooah”.  It is in very good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click below:

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

This is a charming jar by Art Cody Haungooah is from 1975.  The jar is fully polished and has design just around the neck of the piece.  The design is a fox out in the lightning and as the jar is turned there is a feather pattern.  The remainder of the jar is highly polished.  Interestingly, the jar is not signed on the bottom, but on the side!  It is signed, “Haungooah, 3-20-75”.  It is in very good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click the link below:

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

This is a classic polychrome jar by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, Luther,  would paint them.  This jar is one of their classic shapes with a round body and slight neck.  Allt he various colors are derived from native clay slips.  There are four medallions on the jar.  Two have warriors or hunters and the other two have animals (a bear and a mountain lion). The bear and mountain lion both have heartlines as part of their designs.  Note the various clay colors used on this jar, including the green and orange.  The jar is signed on the bottom, “Margaret / Luther” and it is in very good condition with no chips, cracks, restoration or repair.

This is a classic round melon bowl by Angela Baca.  It is very deeply carved and each rib is stone polished.  On this bowl, even the space between the 24 individual ribs is fully polished!  It is signed on the bottom in the clay, “Angela Baca” and it is in excellent condition with no chips, cracks, restoration or repair.

Adam Speckled Rock is the son of noted potters Paul Speckled Rock and Rosemary Lonewolf.  He is a grandson of Joseph Lonewolf and a great-grandson of both Severa Tafoya and Camilio Tafoya.  This open bowl is fully polished on the outside.  It is designed like a “kiva bowl” with the step patterns. In each of the step designs is an etched pine tree.  There is also an etched turtle with a sun design on its back.  The bowl is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Nathan Youngblood has long taken inspiration from the world around him.  His work for decades has drawn inspiration from both Pueblo and Asian art.  When he was a young boy, while his father was in the military, they were stationed in the Netherlands, and he said he would often go to the museums and look at Asian ceramics.  That has been a life-long love affair with those distinctive forms and designs.  This jar has a very Asian form and the designs play out the duality at times found in his art.  Around the shoulder on one side is a dragon and then the opposite a water serpent (avanyu).  Each facing the other.  There are two opposing medallions, one with Pueblo clouds and the other a cipher.  Around the neck is a band of clouds and around the base, in tan, is a band of clouds, wind and eagle feathers. The deep red clay slip on this jar is exceptional and contrasts perfectly with the tan and matte areas.  While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast.  This style has been called, “the new Santa Clara polychrome”, although I usually called it “tri-color” with the variations of red, matte and buff areas. The jar was traditionally fired.  The result of various levels of color and imagery make for an exceptional jar that is certainly a reflection of how Native art has become a world art, and the two are meeting as equals.

Dolores Curran creates intricately incised and painted pottery.  She was inspired to create these red polychrome incised and painted by her husband, Alvin Curran.  He was known for his incised San Juan style pottery in the 1990’s.  This plate is exceptionally intricate in design.  The front has a water serpent etched around the rim.  The center is a complex square pattern which has four plants on each side.  Note both the precision of the incised designs but also how she used clay slips in the incised area to help accentuate the imagery!  The rim is fully polished red and the back is equally as complex with dragonflies, stylized birds, and flowers.  Again it is deeply incised, which is surprising for all the work that is also on the front!  There are both matte and micaceous clays used throughout. The mica adds a bit of “sparkle” to the designs.  The plate may be small but it is amazingly complex in design and color for its size!

Monica Romero is a daughter of noted potter Geri Naranjo, a sister of Kevin Naranjo and a niece of Dolores Curran.  She is known for her very detailed miniature pottery.  This bowl is highly polished and etched on one side with a fish. That area has been two-toned sienna.  The remainder of the bowl is designed with feather and lightning patterns. It is very highly polished and note the precision of the lines!  It is signed on the bottom.

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

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

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is from 1976 and it is fully designed. On the top is a Mimbres inspired rabbit.  The surrounding designs are water, grass and plant imagery.  The piece is highly polished and fired red.  It is signed on the bottom in the clay with the date.   It is in condition with no chips, cracks, restoration or repair.

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

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

Greg Garcia was known for his use of classic Santa Clara forms for his pottery.  This is a wide shaped bowl with a sharp edge which slopes to the rim. The bowl has three bear paws as the design. The entire surface is stone polished and fired black. The bear paw is a traditional symbol for Santa Clara pottery, telling the story of a bear who led the Pueblo people to water during a drought.  The bowl is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Greg Garcia”.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This seedpot is oval in shape.  It is fully carved with cloud pattern on one end.  The clouds are polished tan and matte. Above the clouds are circular rain drops and a triangular sun pattern. As the seedpot is turned there is a galaxy style swirling behind the rays of the sun. The bottom has an additional swirl of clouds.  Note the depth of the carving and the various shapes and use of different clay slips.  Exceptional! It is signed on the bottom in the clay.

This miniature jar by Camilio Tafoya is from  by Camilio is from 1975. It is etched with a feather pattern around the shoulder.  The neck of the jar has a very lightly etched kiva step pattern.  The kivas are the ceremonial areas which are often below ground and depicted in pottery as a series of three steps. The area below the design is fully polished red.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  She learned to make pottery from her father, Joseph Lonewolf. This seedpot has a narrow base and a round top.  On the top of the piece, it is fully designed with a turtle.  Around the sides, there are additional fish and another smaller turtle.  Note the tan matte areas which are intricately designed with rounded sections and additional geometric imagery.  The polishing has created a high shine.  The seepot is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom, ‘Pho-Sa-We” which is “Snowflake” in Tewa.

This tile by Jason Garcia is part of his Corn Maiden series which features young women in traditional dress for the Corn Dance and placing them in a modern context.  This tile has two Tewa women relaxing in the river during the summer.  The pueblo can be seen in the background and there is the traditional rain cloud in the sky.  Each piece is a hand built clay tile, made from native clay.  All of the colors are derived from Native clay.  Jason has won numerous awards for his pottery and paintings, including “Best of Paintings” at Santa Fe Indian Market in 2016!

Minnie Vigil is renown for her polychrome and highly polished pottery.  This jar is fully polished red and painted with a feather pattern around the shoulder of the jar. Below the shoulder are rain and wind designs and above the feathers are cloud designs.  The clay used to paint the area at the base of the feathers is almost a blue coloration!  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Minnie”.  She is a sister to potters Gloria Garcia (Goldenrod), Lois Guiterrez and Thelma Talachy and an aunt to Jason Garcia.

This polychrome standing turtle is by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, would paint them.  This turtle is carved on the back and the “shell” has seven sections. They have painted bugs, animals, and a human figure.  Typical of their pottery the face of the turtle is quite whimsical with the buck teeth!  The colors are all derived from natural clay slips.  It is signed on the bottom “Margaret/Luther”. The bowl is in very good condition with no chips, cracks, restoration or repair.

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar with a as a classic avanyu (water serpent) encircling the piece.  It is intricately carved with elaborate designs for the body of the piece.  Note the various sections which create swirls and various angles for the design.   It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has the traditional cream colored slip, which few potters use today because it is difficult to apply.

This is a seedpot by Grace Medicine Flower is from 198`.  It is fully polished and etched on the top.  There are four hummingbirds and two butterflies as the design.  There are additional feather swirls and flowers along with rain and wind patterns. What is really interesting about this piece is the matte background area.  Note how Grace used two different techniques for the background.  One is a series of lines and arches, which almost seem to depict the movement of the birds and butterflies.  The other is a series of small semi-circles which create a visual distinction with other background areas.  These small incised lines create small shadows and add to the overall depth of the design.  The jar is signed on the bottom in the clay. It is in excellent condition with no chips, cracks restoration or repair.

Jordan Roller is innovative in his use of thin carved designs on his pottery.  This jar combines a unique color combination along with the complex carving. The jar was originally polished tan and red along with areas which were matte.  Jordan then fired it brown, creating the distinctive coloration. The polished and matte areas took on two different colorations and they contrast with the matte areas. The design around the top of the jar is a cloud pattern.  Around the center is an alternating mountain and rain design. The tightly carved lines of the central section contrast with the larger, open section of the clouds around the neck.  This sophisticated technique is balanced with great shapes, creative designs and beautifully stone polished surfaces.  Jordan is certainly a  young potter to watch!

This jar perfect shape for Johnathan Naranjo’s distinctive style of incised pottery. All four sides are fully polished and the shape is square with flat sides and a flat top. On each side is a realistic trout swimming in the water.  It is meant to be as if the viewer is looking through the water at the fish on each side. The top of the jar is matte and carved with water swirls.  The lid is carved in the shape of a dragonfly!  It the dragonfly landing on the water which is exciting the fish.  The various shades of red and tan are achieved by lightly scraping away layers of polished surface!  This is a very difficult technique but visually is striking.  Johnathan has won numerous awards for his pottery and  Johnathan is definitely one of the young potters to watch!

This tile is part of his Corn Maiden series which features young women in traditional dress for the Corn Dance and placing them in a modern context.  This tile has a young Corn Maiden dancer in a very reflective girl standing against the wall of the pueblo. There is amazing detail in her shawl, dress and tablita.  In the background is the kiva ladder along with a TV antennae. The antennae is a nod to “St. Claire”, the patron saint of Santa Clara Pueblo, but also televisions.  In the background there is a traditional raincloud.  On the back of the tile are all the hashtags, as if this was a photo to be posted online, “#cornmaiden, #khapo #tewa #okuupin”.  His piece is signed with his Tewa name, Okuu Pin, which means Turtle Mountain.  This tile is hand built from native clay.  All of the colors are derived from Native clay.

Kevin Naranjo creates beautifully incised pottery with realistic scenes.  This miniature jar is amazingly intricate with designs. The rim has cloud pattern and below that is an eagle feather design.  There is a central medallion with a realistic bear. Around the side of the bowl as it is turned there is an eagle, bear paw tracks and at the very bottom an avanyu (water serpent).  To accentuate his designs Kevin creates sienna areas in contrast to the black. This highlights the rim, bear paw tracks and eagle.  The bowl itself is very highly polished which gives added dimension to the designs.  The jar is signed on the bottom in the clay.

This tile by Jason Garcia has two boys standing on the kiva (the underground room where traditional Pueblo ceremonies take place) in front of the Kiva ladder.  The is an older boy and his younger brother.  Jason said that this tile reminded him of his older brother, who passed away when Jason was just a small boy.  Here the two boys are looking off into the distance with a rather sentimental placement of the older brother standing behind and looking over his younger brother. The “New Hope” title comes from Star Wars, where Luke Skywalker is placed in much the same position, looking off into the future.  Each tile is hand built and made from native clay.  All of the colors are derived from Native clay.

The is a small but intricate seedpot by Camilio Tafoya. The seedpot was made in 1980’s and it is fully etched with designs.  It is polished red and the top is etched with a star pattern and four rabbits.  Rabbits were a them often used by Camilio on his pottery.  The bottom of the seedpot has a water design.  The various colors of green and white are from natural clay slips. The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

This seedpot by Joseph Lonewolf is from 1984 and it is highly polished and fired red.  The seedpot is inspired by the Mimbres pottery designs.  Here there are two different bees etched into the surface of the clay.  As the seedpot is turned there is the yearly symbol for 1984 on the back. It is meant to represent a bright future.  The seedpot also comes with the original card typed out by Joseph explaining the designs. It is is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

The is a classic miniature by Camilio Tafoya. The seedpot is incised with Mimbres inspired hummingbirds as the design.  Note on the top of the piece there is a single Mimbres bee! The seedpot has an unusual form but one which is certainly recognizable as Camilio’s.  There are additional clay slips used to create the various colors.  The seedpot is from 1982 and it is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

This seedpot by Joseph Lonewolf is from 1984 and it is highly polished and fired red.  The design is unusual as it has a turtle as the central pattern. The turtle is not unusual but note the shape of the turtle’s head and neck and it is certainly reminiscent of the work of Tony Da in style.  The turtle has a mountain design on its back and note at the lower right there is a tiny dragonfly.  As the seedpot is turned there are two incised Mimbres style fish etch into the clay.  There is also another dragonfly.  There is also the yearly symbol for 1984 which has the shifting sand pattern.  The seedpot is highly polished and the contrast of the matte and polished surfaces works perfectly for this desig.  It is is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

The is a complex sgraffito seedpot by Camilio Tafoya. The seedpot was made in 1985 and it is fully etched with designs.  It is very highly polished which creates a striking contrast with the matte and etched areas. The imagery is a deer family encircling the piece.  The top has a cloud and rain design. The green and white are additional clay slips.  The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

While this is a smaller piece by Nancy Youngblood, the sophistication and technical superiority of the design work is immediately evident.  She has carved a horse onto one side of the piece.  Note the use of the melon ribs for the flowing mane and tail.  However, it is the body of the horse and the way she was able to create the musculature, and even the details like the hooves, which is amazing!  As the jar is turned there is a jagged band or very deeply carved and angular melon ribs. The depth and precision of the carving for the size is visually striking.  The ribs here meet up with the hooves of the horse, creating a lightning strike and the rain.  It is a brilliant play of design and strikingly executed in carving and polish.  It is exciting to see the continued creativity and innovation of this important pueblo artist!

This is seedpot by Rosemary Lonewolf is from 1976.  It is fully polished and has a single bird as the design.  As the bowl is turned there is a cloud, rain and lightning pattern etched into the surface. The contrast of the matte and polished areas accentuates her imagery.  The piece is signed on the bottom “Apple Blossom”, which is her name in Tewa.  It is in excellent condition with no chips, cracks, restoration or repair.

Helen Shupla is famous for her carved pottery as well as her exceptional melon jars.  This is one of her few black-on-black painted pieces.  The plate is fully polished and has an avanyu (water serpent) painted as the design.  Note the head of the avanyu is in the lower left of the photo.  The avanyu has a more stylized appearance on this piece.  The intricate painting is a striking contrast to the highly polished surface. It is signed on the back in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Nickolas Ebelacker is only 19 years old and a son of Jerome Ebelacker and a grandson of Richard Ebelacker.  Nickolas make a few pots each year and this is a classic shape of the storage jar.  It has the high shoulders of the jars made by his great-grandmother Virginia Ebelacker.  The jar is coil built, stone polished and native fired black.  It has two bear paws impressed into the jar as the design.  It is signed on the bottom.

This is large Kiva Bowl by Margaret Tafoya.  It is from the 1940’s. The bowl is unusual for its size and shape.  The “kiva” is an underground ceremonial room, and there is a ladder out of the top.  The representation of the kiva in Santa Clara pottery is the three step shape carved on the rim of the bowl.  iva bowl are always difficult to make with the carved rim, which can crack in drying as well as in firing.  Adding to the complexity of the bowl is that is fully polished on both the inside and outside!  Amazing that it didn’t crack when polishing, as all the additional wet slip can seep through and cause cracks. The bowl is highly polished and striking in appearance.   It is signed on the bottom in the clay, “Margaret Tafoya”.  It is in very excellent condition with no chips, cracks, restoration or repair.

Spoken Through Clay

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

 Just a few things which make this book unique!

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

_____________________________________________

August 18, Pasatiempo Review

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

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

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

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

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

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

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

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

352 pages, 320 color plates, 40 artist portraits

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

This is an intricately carved bowl by Linda Cain.  She is a daughter of Mary Cain and the mother of potters Tammy Garcia and Autumn Borts-Medlock. This bowl reflects Linda’s unique style of carving.  Each section is deeply carved and highly polished. The opening is asymmetrical and the birds and prayer feather patterns flow around the surface of the bowl.  There area behind the birds and carved designs is a micaceous, which is almost as if the first are flying at night among the stars.  The designs extend down to the base.  It is signed on the bottom.

Linda Tafoya-Sanchez is a granddaughter of noted potter Margaret Tafoya and she is know for her carved pottery.  This small bowl is one of her few Kiva bowls. The rim of the bowl is carved with a three level “terrace” which represents the steps of the kiva.  It is a traditional design and form found on Pueblo paintings and pottery.  This bowl is fully polished on the outside and matte on the inside.  It is signed on the bottom, “Linda Tafoya-Oyenque”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an intricate seedpot by Debra Trujillo (Duwyenie) and Harvey Chavarria.   The seedpot has a pueblo dancer etched into the clay holding a medicine wheel. There is an inset piece of turquoise representing the belt buckle on the figure.  This round flat shape of seepot is one that was stylized by Debra & Harvey for their work.   The piece is in very good condition with no chips, cracks, restoration or repair.

This is one of Ray Tafoya’s few wedding vase miniatures.  The entire piece is fully polished and fired red. The design is a hummingbird in a medallion on each side of the piece.  There are feather designs on the side and additional highlights of yellow clay. The wedding vase is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

Bernice Naranjo is known for her innovative incised pottery.  This seedpot is fully polished and fired brown.  She has etched a series of lizards on the surface of the piece. Some are placed sitting on the red polished clay and others on fine-line etched sections reminiscent of the sand or pottery shards.  The piece is signed on the bottom.

Greg Lonewolf is the son of Joseph Lonewolf and is known for his intricately incised miniatures.  This seedpot has a thick-billed parrot as the design.  It is intricately etched into the clay and highlighted with natural clay slips.  Around the side is a feather pattern.   It is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

This bowl by Sarena Ebelacker is deeply carved.  It has a square feather pattern around the neck and a stylized lightning bolt carved into the clay.  The lightning is a micaceous clay while the remainder of the piece is polished red. Sarena is a daughter of noted potter James Ebelacker, a granddaughter of Virginia Ebelacker and a great-granddaughter of Margaret Tafoya.  Her pottery uses traditional techniques but with a contemporary appearance. 

This is a very creative mini jar Art Cody Haungooah. It is fully polished and etched on the sides. The jar has the Hero Twins on one side, with the clouds and lightning. The opposite side has the people migrating.  The neck of the jar has additional cloud and rain pattern.  The style of the design accentuates the form with the neck.  The jar is signed on the bottom in the clay, “Haungooah”, and a flute player, which identifies it as being from 1981.  It is in good condition with no chips, cracks, restoration or repair.

This large bowl by Art Cody Haungooah is fully polished and etched on the top with a design. The bowl has a sun figure with a headdress and an elongated body which curves around the neck of the bowl. The remainder of the piece is fully polished.  Art made few pieces this size and it striking in its appearance.  The bowl is signed on the bottom in the clay, “Haungooah”, and a flute player.  It is in good condition with no chips, cracks, restoration or repair but some light surface scratches.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  The boxes are inspired by the traditional corn meal boxes which were used ceremonially. Today, few potters consider making boxes, as they are technically so difficult.  This box is very traditional with a water serpent encircling the piece. The avanyu is fully polished and the tongue is slipped with a micaceous clay.  The lid is micaceous with a polished top.  The eye of the avanyu is a single piece of Damale Turquoise inset on the back.  It is signed on the bottom in the clay.  It is striking use of traditional designs and form.

This is seedpot by Rosemary Lonewolf is from 1978.  It is fully polished and has a raccoon on the top of the piece.  Surrounding the sides are lightning, cloud and water patterns.  Note how on the sides she etched into the tan area with little circles, which creates a striking appearance. The piece is signed on the bottom “Apple Blossom”, which is her name in Tewa.  It is in excellent condition with no chips, cracks, restoration or repair.

Jody Folwell is known for her creative pottery shapes and designs.  This bowl is one of her unique shapes with with an asymmetrical rim, a round body and one flat side!  The flat side has the etched design.  Jody says the figure is a cross between a water serpent and a lizard.  There are additional corn and star patterns on the side.   The jar is fired brown with various colorations from the firing.  It is signed on the bottom, “Jody”.   It is in excellent condition with no chips, cracks, restoration or repair.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  Many of her skills are ones that she learned from her father, Joseph Lonewolf. This seedpot has a realistic buffalo etched onto the top of the piece.  On the sides are buffalo tracks and two petroglyph style buffalo.  Note also how Susan has etched her pottery. The polished red is the surface, and then she often etches just the polished area away to reveal the matte red and the going deeper, there is the tan of the clay.  It is very complicated and time consuming to etch in this manner!  However, the results are exceptional.  The piece is signed on the bottom in the clay with her Tewa name, “Pho-sa-We”.  It is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

Elijah Naranjo learned to make pottery from his mother Dolly Naranjo and sister Jody Naranjo.  He works in a similar style with the sgraffito designs and brown firing. This small seedpot has a Mimbres style lizard on the top.  It is fully polished and there are additional feather designs in the clay. The seedpot is from 2000.  It is in excellent condition with no chips, cracks, restoration or repair.

Mike Romero is from Taos Pueblo and married to potter Susan “Snowflake” Romero.  While he helped with her pottery over the years, he also carved fetish figures.  This eagle is carved from steatite and there is a fetish bundle around the neck.  He has an amazing old-style type of carving.  Mike rarely carves today, the piece is from a collection from the 1990’s.

Jeff Roller creates exceptional traditional pottery and there is a remarkable attention to the crisp carved lines in his work as well as a evenness to his stone polished surfaces. This bowl is deeply carved with a feather pattern and fully polished.  The lid is made from native clay, which is technically difficult to carve.  The figure is a wild turkey, which is an important part of Pueblo ceremonies and culture.  The detail on the lid is extraordinary!  Simply amazing not just the form but the feathers and other details.   The bowl is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an amazing miniature bowl by Rosemary Lonewolf!  It is a seedpot with two butterflies encircling the piece.  Separating the two butterflies are polished vines which encompass the remainder of the surface.  It is highlighted with additional clay slips.  The various colors are all derived from natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.

Tina Garcia was well known for her use of traditional shapes in her pottery.  This is a classic long neck water jar. There is a double shoulder and then a sharp rainbow ridge around the entire piece.  The elongated neck curves in and then out to the rim.  The double shoulder is always technically more difficult to make.  The jar has a wonderful polish and a deep black coloration from the firing.  It is signed on the bottom in the clay, “Tina Garcia”  It is in excellent condition with no chips, cracks, restoration or repair.