Santa Clara Pottery

Helen Shupla is certainly most famous for her exceptional melon jars.  Her melon jars are the very traditional form with the ribs pushed out in the clay.  This melon jar is one of her classic shapes with the round body and the slight neck.  The neck was a later development in her pottery forms.  Each of the 15 ribs are pushed out into the clay.  She would do this by placing her fingers inside the bowl and pushing against the clay from both the inside and outside!  Can you see the slight angle to each section?  This is how she would turn her hand as she was pushing against the clay to create the separate ribs!  The entire piece is fully polished and fired black and then fired a second time to make it sienna!  This is one of the most difficult techniques to create, but also one of the most striking. The desired coloration is nearly a carmel color and this jar has that amazing coloration.  It is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Shirley Tafoya was the youngest daughter of Margaret Tafoya and known for her miniature pottery.  This bowl is from 1980.  It is very deeply carved with a water serpent encircling the piece.  The entire surface is fully polished.  Shirley etched the eye and the mouth of the avanyu.  The water serpent is a classic Santa Clara design telling the story of how the avanyu saved the village from a flood.  The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya”. A classic of Tafoya Family pottery!

Stunning!  This is an exceptional jar by Jennie Trammel.   She was a daughter of Margaret Tafoya.  Over the years Jennie did not make a lot of pottery as she lived a very private life and was virtually never involved in markets or gallery shows.  However, she created striking pottery with classic shapes and designs which were distinctive to her work.  Each piece was coil built and it was the carving, with the rounded edges, which was a visual key to her work.  This tall jar has a low shoulder, which gives it lots of space for design.  The central areas is fully carved with three rising sun designs.  They are separated by three cloud motifs descending downward.  Jennie continues to fascinate with her designs, as they are images that few other Santa Clara potters use in their work.  As well, as on this piece, her choice to use three designs instead of four, is more difficult and unusual.  The carving is very deep and the piece is a very deep red.  The background area is matte and the traditional creame colored clay slip. The jar is in very good condition with no chips, cracks, restoration or repair.  There are a couple of areas of slip loss on the edge of some of the carving, which might have happened at the time of firing and are not unusual in her larger pottery.  The jar is signed, “Jennie Trammel” in the clay on bottom.   Definitely one of her classics!

his is a striking wide shoulder jar by Margaret Tafoya. It is from the 1970’s.  It is an unusual shape for Margaret’s pottery with a wide shoulder and a short neck.  The jar is carved around the shoulder with cloud and step designs.  The carving on this jar is very complex with variation as the jar is turned.  In the book, Born of Fire, it says of this jar:

“This jar from the 1970’s shows the perfect balance of form and design typcial of this period.  The intricate and flowing cloud and step pattern was most likely designed and carved by Alcario [Tafoya]”.  Born of Fire, p. 107

Alcario Tafoya, the husband of Margaret Tafoya, was known for his intricately carved designs. The use of negative space with imagery flowing up from the base lower section and down from the top of the band are indicative of his design style.  Toni Roller said of her father:

“Alcario did help with some of the designs. My dad’s designs are very outstanding. You can tell the difference between my mother’s and my dad’s designs. He did a lot of designs on my mother’s pots. Sorry to say he was never given very much credit for it.” —Toni Roller, Spoken Through Clay

The jar is highly polished and traditionally fired.  It is signed on the bottom in the clay, “Margaret Tafoya”.  It is in very good condition with no chips, cracks, restoration or repair.  It is featured in the book Born of Fire, on p. 107.

Linda Tafoya-Sanchez is a granddaughter of noted potter Margaret Tafoya and a daughter of Lee & Betty Tafoya.  She is know for her intricately carved pottery.  The jar is a variations of designs.  Two sections are fully polished with carved corn plants.  The opposite two medallions have hummingbirds as the design.  Linda’s hummingbirds are exceptional with the rounded bodies.  There are also areas where she has added a micaceous clay slip.  Linda was among the first Santa Clara potters to begin using the mica as a design element after she was given some by her San Juan Pueblo in-laws.  The jar is signed on the bottom, “Linda Tafoya-Sanchez”.

“The clay is a really important part of making the pottery. Listening to family members talk about how they used to get clay with Grandma and Grandpa [Margaret & Alcario Tafoya] and how they would make it an all-day venture. You feel that family connection when you are digging the clay out of the earth. It ties you to your home. There’s no other place you are going to find that kind of clay. You think about how many years people have dug that clay out of the earth, how many years Mother Earth has provided that clay for us.”  Linda Tafoya-Sanchez, Spoken Through Clay

This is a striking large water jar by Margaret Tafoya.   This red water jar is featured on p. 78 of the book, “Born of Fire”. The water jar is from the 1960’s and certainly from a period when Margaret was at the peak of her career.  In 1978 and 1979 she won “Best of Show” at Santa Fe Indian Market.  She is one of the only artists to ever win twice and then to win in two consecutive years.  This water jar is distinctive and important because of the color (she made fewer red pieces than black), the very classic shape and the bottom.   The shape is a double shoulder water jar with a rainbow ridge.  This is the ridge above the shoulder which is actually pushed out in the clay.  The rim of the jar is slightly turned out and there are four bear paws impressed into the clay before it was polished.  As for the bottom, this comes from a time period when she used one of her mother’s (SaraFina Tafoya) pukis to create the indented base.  Nearly of the pieces with this style of base are classic style water jars, almost as if they are made as an homage to her mother and her legacy.  The jar is signed on the bottom in the clay, “Margaret Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.  This is definitely a historically important and exceptional jar by this important Santa Clara potter and great to have it published in one of the definitive books on her career.  Toni Roller said of the bear paw design.

“The story behind the bear paw, according to my grandmother, she said that our ancestors came from Puye, from the cliffs. One time when the people were living up there, there was a drought so bad they couldn’t grow anything. They were so worried. They wondered why the bear was well fed and not thin like they are. So they tracked the bear, and the bear led them to the Rio Grande. The reason we put the bear paw on the pots is to honor the bear that saved the people, the ancestors that came to Santa Clara from Puye. That’s why now most of the Indian people live along the Rio Grande. The bear saved all our ancestors.”  Toni Roller, Spoken Through Clay

This is a large wedding vase by Margaret Tafoya.  It is from the 1950’s.  The design is a water serpent and it is very deeply carved into the clay.  There is an unusual cloud pattern above the head of the water serpent, and another cloud pattern on the reverse of the bowl.  It is this style of carving which is more usually seen on the work of the late 1950’s.  The shape of the vase is rounder with the extended spouts.  The entire surface of the wedding vase is fully polished.  The style and complexity of the carving, also suggest that it was probably designed by Margaret’s husband, Alcario Tafoya.  Toni Roller said of her father’s designs:

“Alcario did help with some of the designs. His are bold designs. My dad’s designs are very outstanding. You can tell the difference between my mother’s and my dad’s designs. He did a lot of designs on my mother’s pots. Sorry to say he was never given very much credit for it.” —Toni Roller, Spoken Through Clay

The wedding vase is signed, “Margaret Tafoya”.  It is in very good condition with chips, cracks, restoration or repair.  There are surface scratches which are expected on pieces from this period, but no structural issues.

This is an exceptional lidded box by Jason Ebelacker.  He is a son of Richard Ebelacker and grandson of Virginia Ebelacker.  Jason has been focusing on traditional shapes for his pottery.  This box is fully carved around the side with a water serpent (avanyu) design, which encircles the entire piece.  It is difficult to create boxes, especially larger ones, as the flat sides tend to crack in drying and firing.  The design here flows around the surface and yet changes in each panel! It is beautifully designed. The surprise to the piece is the lid, where he has carved in reverse another water serpent! The polishing and clean carved lines are striking on the piece.   Jason is certainly one of the younger potters to watch!

This is an exceptional large box by Nancy Youngblood.  It is not often that she makes boxes and this particular piece combines many different techniques used in her pottery.  The box is an elegant shape with a length, width and height proportionality that works for the size. The sides of the box have shells on them, and not how each ridge of the shell is rounded out like her straight melon ribs! The ends of the box have circular shells. The use of shells reflects the shells used on traditional dancers at the Pueblo and that they have been used culturally for centuries.  The top of the box has a carved and polished avanyu encircling the handle, which is a double sided shell.  One visually dynamic aspect of the box is the how she has sanded the matte areas so that they are so smooth. It is a critical part of pieces as any uneven surface is revealed in the light as a small shadow!  The polished surfaces just glow with the reflection of the light.   Consider that each shell edge or swirling shell has two “sides”to be polished and the surface area of the piece is about double its size!  This box is from 2008 and came originally from Nancy to the gallery and now it has come back to us.  It is in perfect condition with no chips, cracks, restoration or repair.   Nancy has won numerous awards for her melon bowls and this is undoubtedly a classic and important piece of her pottery.

Margaret Tafoya and her daughter, Mela Youngblood, made some pottery together in the 1970’s.  Typically, Margaret would make the piece and then it would be carved by either Mela or Alcario Tafoya (Margaret’s husband).  Some of the collaborative pieces I have seen were signed by all three.  This wedding vase is just signed by Mela and Margaret. The wedding vase is definitely Margaret’s shape. The carving has a mesa and lightning on one side and a mountain pattern on the other.  The carving design was done by Mela on this piece, as was the polishing.  It’s a striking piece and an interesting piece of history!  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Tafoya, Mela Youngblood”

Toni Roller is known for her classic shapes and exquisite stone polished pottery.  A daughter of Margaret Tafoya, Toni has developed her own distinctive style yet adhering to the traditional methods and techniques of her mother.  This may be one of the tallest pieces of her potter we have seen! The jar is 15″ tall and carved with two bands of design.  There is a central band with a carved avanyu.  Above the avanyu is a carved band with cloud, bird and lightning designs.  It is a very intricately designed piece. As well, the entire surface is fully polished!  It is traditionally fired a deep black.  The jar is from 2006 and signed on the bottom, “Toni Roller”.  It is in very good condition with no chips, cracks, restoration or repair. Definitely a significant piece by one of Margaret Tafoya’s daughters.

This is a striking fully polished water jar by Margaret Tafoya. It is from the 1960’s.  It is an elegant shape with a long neck and a “double shoulder”.  The double shoulder was also called a “rainbow ridge” by Margaret and her mother, Sarafina Tafoya. It adds to the difficulty of a piece as the second ridge requires the potters to create a rise from the shoulder to a second shoulder to the neck.  The jar is stone polished all at one time and then fired to a deep black.  It is from the 1960’s and it is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Tafoya”.  This shape and size is definitely a classic of her work!

Jody Folwell is known for her creative pottery shapes and designs.  This is a very tall jar and the rim has an asymmetrical form, for which she is known. The jar is polished with a slip which fired a greenish-brown. There are lightning patterns across the surface which are a matte red.  Around the entire jar are a series of etched wolves and buffalo.  Some are etched and some are just painted with a white clay slip.  They are in different directions and different degrees of motion.  The size and coloration with the green, red and white is striking.  The jar is signed on the bottom, “Jody”.  It is in excellent condition with no chips, cracks, restoration or repair.

Virginia Ebelacker was the first daughter of noted potter Margaret Tafoya.  She was known for large sized pottery as well as her deeply carved designs.  This jar is a very classic shape with a carved band around the center. The designs are mountain and lightning patterns. The jar is deeply carved and highly polished. The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  Her sons Richard and James were both known for their distinctive large pottery and today her grandson, Jason, is also creating exceptional pottery.

Cliff Roller is a son of noted potter Toni Roller. Each piece is coil built and stone polished.  This bowl is carved four bear paws as the designs. The bear paws are symbolic of a Pueblo story where the bear leads the people to water during a drought.  Here the bear paws are each deeply carved into the clay and polished. The remainder of the bowl is fully polished to a very high shine.  It is signed on the bottom in the clay, “Cliff Roller”.  This bowl is in excellent condition with no chips, cracks, restoration or repair.  While these days Cliff makes very little pottery, his work remains a statement to his skill as a potter!

Lela Gutierrez began making pottery in the 1930’s with her husband, Van Gutierrez.  After Van passed away in 1956 she continued to make pottery with her son, Luther Gutierrez.  She would make the pieces and Luther would paint the designs.  They worked together for only 10 years from 1956 to 1966.  This open bowl is fully painted on the inside.  There is a thunderbird in the center and a star pattern.  On the inside rim of the bowl are alternating sun and lizard designs.  All the various colors are derived from natural clay slips and painted onto the piece before it was fired.  It is signed on the bottom, “Lela/Luther”.  It is in very good condition with no chips, cracks, restoration or repair.

This seedpot by Camilio Tafoya reflects the interesting connection of the wild turkey and Pueblo culture. There are turkey clans and most importantly, the turkey feathers are used in numerous Pueblo dances.  They are a critical part of the cultural and spiritual activities in most pueblos.  Interestingly, they have been important for quite a while in Pueblo life.

“The ancient Pueblo people shifted from making blankets of rabbit fur to using turkey feathers. One blanket could require 12,000 feathers, which could be taken as the birds molted.  The blankets helped ward off the high-altitude chill of Mesa Verde, but the turkeys also “must have had some symbolic importance,” said Lipe. “That continues all the way through to the present. Turkey feathers are still ritually quite important among Pueblo people.”   Eric Sorensen

You might also check out the “Turkey Girl” story as presented by Juan de la Cruz on the Camilio Tafoya bronze listing.  This seedpot has a male and female turkey on either side of the seedpot. They are etched into the clay and highlighted with colored clays.  The top of the seedpot has a cloud pattern and a rain pattern. The piece is signed on the bottom in the clay, “Camilio”.  It is in excellent condition with no chips, cracks, restoration or repair.

Dusty Naranjo is known for her delicately etched pottery which is fired brown.  This jar has an asymmetric form and it is fully polished. The top has classic Santa Clara designs and the sides are are fully etched with lines and hands.  Note the precision of the lines, which is always amazing to see when they are etched into a polished and rounded surface!  The shape, color and design give the jar a very modern appearance.  It is signed on the bottom, “Dusty”.

Agapita Tafoya was the wife of noted potter Camilio Tafoya and the mother of Grace Medicine Flower and Joseph Lonewolf. Agapita created most of her pottery from the 1930’s to the early 1950’s. This jar is from the 1950’s and it is deeply carved and stone polished. The design is a cloud pattern extending down from the neck and a prayer feather pattern extending up from the base.  The piece is fully polished and fired red.  The recessed area has a cream colored slip which was used for contrast with the red clay slip.  The jar is in good condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Agapita Tafoya”.

This jar by Grace Medicine Flower is fully polished and incised.  The jar has high sides and a short neck. There is a large leaping deer on one side. On the opposite side are two fawns and flowers.  Grace has incorporated additional Pueblo cloud, rain and feather designs.  The jar is from the 1990’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Grace Medicine Flower”.

Susan Folwell is known for her innovative and unique Santa Clara pottery.  This bowl is polished on the top half and matte below the shoulder.  In the polished section it is fully designed with hand designs.  They are additional cloud and star patterns.  Susan has also included the Folwell family “x’s” as part of the design. The piece was traditionally fired which created the coloration on the rim.  The bowl is signed on the bottom.

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 1984.  It has two grizzly bear cubs, each etched into the clay in great detail.  Each of the cubs is entranced with the butterflies.  What is so exceptional on this piece is not just the bears and the interaction with the butterflies, but the filigree style etching work surrounding them.  The plants and the feather patterns flow around the piece in a delicate stylistic manner.  It’s always difficult with his work to imagine that Joseph etched the designs into the clay!  There is an additional white clay slip used along with a red clay slip.   The back of the piece has a medallion with a rainbow, which is the yearly symbol for 1984.  The precision of the designs and the shine of the polished surface create a perfect balance.  This piece is in perfect condition with no chips, cracks, restoration or repair.

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, “Raincloud 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 in the center and it is surrounded by cloud patterns. The representation is both to the importance of water as well as the dragonfly being seen a prayer messenger.  The dragonfly on this piece has a red patina and there are blue for the water.  The piece is number 10 of 65 on the side.   It is signed and numbered on the bottom.  The bronze is mounted and framed.

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.

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.

It is not often that Linda Tafoya-Sanchez creates redware pieces in the more classic San Juan style.  This bowl is carved with four medallions, one on each side. The medallions are a rising sun, a butterfly, rain clouds and a corn plant.  Each of these is a classic design depicting growth or prosperity.  What is fascinating on this bowl is the surrounding complex carved designs.  They are inspired by San Juan incised imagery and add to the complexity of the carving. These patterns are also either polished or slipped with mica!  The intention here is to have a variety of surface textures and styles to reflect the light and enhance the designs.  Linda began using the mica years ago when she was given some by a relative at San Juan.   The bowl is signed on the bottom, “Linda Tafoya-Sanchez”.

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”.

Belen Tapia was a diverse potter creating everything from painted to carved pottery.  This jar is from the 1970’s and at that time she was making primarily carved pottery.  Belen Tapia was a niece of Sara Fina Tafoya and the mother of Anita Suazo, and Anna Archuleta.  This jar is very deeply carved with a mountain or kiva step pattern on two sides.  Separating the mountains are cloud, wind and rain patterns.  It is unusual as it is a very fluid design across the surface.  The neck of the jar is just slightly turned out. The surface is highly polished and the background area has the traditional cream-colored clay slip.  The jar is signed on the bottom in the clay and 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 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.

Cliff Roller is a son of noted potter Toni Roller. Each piece is coil built and stone polished.  This jar has a round body and an elongated square neck. The designs are carved into the negative space of the jar.  Around the neck are a tablita and wind pattern.  Around the sides are rain and kiva bowl patterns.  The jar is deeply carved and highly polished.  It is signed on the bottom in the clay, “Cliff Roller”.  This bowl is in excellent condition with no chips, cracks, restoration or repair.  While these days Cliff makes very little pottery, his work remains a statement to his skill as a potter!

Kaa Folwell is one of the exciting young potters working today.  In 2018 she is graduating from IAIA, which certainly adds an educational component to a lifetime of making pottery in her renowned family.  This large bowl has a wide shoulder and a slight neck.  The outside of the bowl is etched and then painted. The designs are graffiti style clouds and lightning.  The spiral and flow around the surface of the bowl.  The contrast of the painted surfaces with the texture of the clay body works perfectly for both the feel and the visual.  In various places around the designs are the Folwell family “x” design.  Not only is the bowl painted and etched, but the entire interior is fully painted as well.  The strength of the exterior design continues on the interior.  It is a beautiful balance of color, form, and design.  The bowl is signed on the bottom.  We are excited to see more from this young potter!

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 is one of Art Cody Haungooah’s unique “two tone” pieces from 1977. There is an area which is polished brown, and the remainder is polished red.  The piece is etched with a rain and geometric pattern on the top.  On the sides, there is a cricket on one side and a bee on the other.  Both are etched in a Mimbres style.  The seedpot is signed on the bottom in the clay, “Haungooah, 1977”.  It is in very good condition with no chips, cracks, restoration or repair.

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 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.

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.

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

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

This is a serenity to this clay piece by Roxanne Swentzell.  It is entitled “Grateful”.  It is one of the classic style pieces by Roxanne.  The figure is sitting with her feet outstretched and hands clasped. It is the face which gives voice to the title.  The prayerful, grateful look on her face is wonderfully sculpted.  The back of the figure has a contrasting detail with the braid of the hair.  The hands, feet, and toes are sculpted with her distinctive style.  It’s always charming when the toes are curved and separated.  The color is earthy, like the clay and the feeling created around this piece. Roxanne is able to achieve such a sense of emotion in the faces of her figures!  This piece is in perfect condition with no chips, cracks, restoration or repair.  This piece is from early 2000 and signed in the clay, “ROX”.

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 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.

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!

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.

Grace Medicine Flower is one of the masterful potters of Santa Clara Pueblo.  She began with sgraffito (etching) technique in her pottery around 1970 and was always creative in her forms and designs.  This is one of her distinctive large black pieces that is fully carved.  The top of the bowl has six swirling melon ribs extending downward.  The side of the bowl is fully carved with triangular and rectangular cloud patterns which circle in on themselves.  Within each of these sections there is a small area which has a carved kiva step pattern.  The entire surface of the bowl is fully polished to a high shine and fired a deep black.  It is a testament to Grace’s creativity throughout her career that each of her pieces is unique and she was always trying to expand her styles and make each piece unique.  The bowl is signed on the bottom in the clay.  It is from 1991.  It is in excellent condition with no chips, cracks, restoration or repair.  While Grace has now retired from pottery, her work remains elegant and stunning!

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.

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.

This is one of the few 64 rib melon bowls by Nancy Youngblood. The bowl has 64 even ribs, each deeply and evenly carved into the clay. She does not make many of the 64 rib pieces and in the past 20 years, we have only had one other! One of the visually dynamic aspects to this piece is not only the number of ribs, but how close together they are on the bowl!  Here they are very deeply carved and each rib is fully polished.  Nancy has a particular polishing stone which allows her to polish deep on the sides of the each rib.  Consider as well that the polishing on this piece takes an extraordinary amount of time.  Each rib has two “sides”to be polished and the surface area of the piece is about double its size!  Typically for her 64 rib pieces she does not create a lid, as it is possible to chip the very thin edges to of the ribs right as the mouth.  However, here she has created a lid which fits perfectly!  The top of the lid is fully polished and is a signature form for her work.  The bowl is amazing when held, as with the depth of the ribs, it almost feels as if it is floating in your hands!  Nancy has won numerous awards for her melon bowls and this is undoubtedly a classic of her style!

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.

This is a “reclining” turtle Margaret and Luther Gutierrez.  The figure was made by Margaret and painted by her brother, Luther. Typical of their turtles, the face is whimsical. The legs are each painted with intricate designs including a crab and a fish, insects, hunters and birds.  This style of painting one the legs is indicative of their work in the late 1960’s and early 1970’s.  All the various colors are derived from natural clay slips.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Margaret/Luther”.

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.

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 miniature seedpot by Ray Tafoya is fully polished.  It has a Mimbres inspired Big Horn Sheep on the top.  It is surrounded by cloud, rain and lightning designs.  There is an inset piece of turquoise placed in the hole or opening for the seedpot.  All the different colors are derived from natural clay slips.  Note how many of the designs surrounding the Big Horn Sheep are similar to ones used today by his daughter, Jennifer Moquino.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.

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.

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.

Polly Rose Folwell is known for use of classic designs on her traditional inspired Santa Clara pottery. This bowl is coil built and fired brown.  The designs are bird wing patterns inspired from various pueblos.  The pattern on the top of the bowl has both painted and linear patterns, reminiscent of San Ildefonso pottery.  The central area has Hopi style bird wings.  The base has Acoma style bird wing patterns.  It is interesting how she has brought all these together in one piece and contrasts the various styles.  It is signed on the bottom in the clay. .

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.

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 one of the few plates by Art Cody Haungooah. It is from 1977.  It is probably one of his most famous and also most controversial series when he etched nude figures on his pottery.  This plate has two colors on the front with matte and polished areas. The central design design is a Mimbres inspired antelope.  The back has an avanyu and the back of a nude female.  His etching and handling of the nude subject is not graphic, but was certainly unusual for the time period!  The plate is signed, “Haungooah 1977”.  It is in very good condition with no chips, cracks, restoration or repair.

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