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King Galleries is pleased to have a variety of Pueblo and Tribal pottery from the 1920's to the present. We have created this "Signed Historic Pottery"  to identify work by those potters who were early innovators in the 1920's and began to sign their work. It also is used for any artists who have passed away, making their art part of the historical record. The history of Pueblo pottery during this period is one of an exciting change as it has evolved from utilitarian ware to folk art to the fine art of today. We hope you enjoy these amazing pieces!

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Trammel, Jennie – Clay Turtle (1970’s)

This is an unusual figurative piece 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. This turtle is highly polished and painted black-on-black with a rain design.  It is a charming piece and unusual to see a figurative piece of her pottery.  The entire piece is fully polished and it is signed in the clay on the underside, “Jennie Trammel”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 175.00
Tafoya, Margaret – Clay Bird Figure (1960’s)

This is an unusual bird fire by Margaret Tafoya is from the 1960’s.  The bird is fully polished and the wings and tail are painted black-on-black.  The painting is delicate and the designs are meant to symbolize the wings and tail feathers.  The entire piece is fully stone polished and it is fired black.  Margaret would often make these bird figures for tourists visiting the pueblo as well as to use up clay before preparing a new batch for her pottery.  The bird in very good condition with no chips, cracks, restoration or repair. There is a small blister on the head and a just a bit of wear on the inside “bowl” part of the bird.  It is signed on the bottom in the clay, “Margaret”. It is charming piece reflective of the variety of pottery she made throughout her career!

$ 675.00
Unsigned – San Ildefonso Bowl with Lightning Design (1936)

This bowl is unsigned from around 1936.  It is stone polished and has a lightning design around the neck (or a very stylized avanyu) and triangular design around the shoulder.  The triangles have hatchwork painting and there are small dots around the lightning. While it is unsigned, the sticker on the bottom is from the 1936 Santa Fe Indian Market.  It’s always fascinating to find pieces with these stickers.  The bowl is in very good condition with cracks, restoration or repair.  There is one little chip on the inside of the rim.  Definitely a piece of history!

$ 150.00
Gonzales, Ramona Sanchez – Bowl with Cloud Designs (1920’s)

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

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

$ 800.00
Pena, Juanita – Large Bowl with Rain Designs (1920’s)

This is a striking larger bowl by Juanita Pena. This bowl is an earlier piece of her pottery.  It is fully polished and painted with a rain design. The little “dots” of rain on the design are definitely a signature of her painting style.  The designs are definitely an unusual one with the geometric flow of pattern from one section to the next.  The bowl is highly polished and fired a deep black.  It is in very good condition with no cracks, restoration or repair.  There are some light surface scratches.   It is signed on the bottom in the clay, “Juanita”.  

$ 1,200.00
Naha, Helen “Feather Woman” – Large Awatovi Star Design Jar

This is a classic wide shoulder jar by Helen Naha, also known as “Feather Woman”.  She created distinctive pottery using the white clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition.  Helen is known for her revival of the pre-historic Awatovi pottery.   Awatovi is one of the ruins near Hopi where a white slipped style of pottery was made.  It is a fascinating place as it was where Coronado made contact with the Hopi in 1540.  During the excavations in the 1930’s the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen’s early pottery, as opposed the more classic Sikyatki inspired pottery of Nampeyo.  This jar has the “Awatovi Star” pattern painted on the top and the bottom.  The shape of the jar has a more open mouth, which reveals more of the painted imagery when viewing from the side.  Just above the shoulder is her “eternity band” design.  The inside of the bowl is also polished, which Helen tried to do on most of her pottery when she could reach her hand inside.  The jar has been traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.

$ 2,800.00
Gutierrez, Margaret Lou Roybal – Large Feather Plate (1970’s)

Margaret Lou Gutierrez was the only daughter of noted potters Tonita & Juan Roybal.  She began making pottery in the 1970’s. This bowl is one of her few plates.  The surface is stone polished and painted with a classic feather design. The back is matte.  Her feathers always had distinctive sharp appearance in their shape.  The plate is in very good condition with no chips, cracks, restoration or repair.  It is signed on the back in the clay, “Margaret Lou Gutierrez”.

$ 950.00
Aguilar, Joe – Plate with Koshari Clown and Dog (1950’s)

This is a charming plate by Joe Aguilar.  He began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques for the polychrome or black-on-white pottery. This plate is painted with a stylized koshari clown as the design.  Off to the side is a dog sitting, watching the dancer.  It is an unusual design, as koshari are rarely if ever depicted in Pueblo pottery.  I was told that he was part of the clown group and so that is why he was able to paint the clowns on his pottery.  The plate is in very good condition with no cracks, restoration or repair.   It is signed on the back, “Joe Aguilar”.  It is from the Dick Howard collection and his inventory number is still on the back.

For more information on the

Early San Ildefonso Innovators, Click Here.

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

This is certainly one of the most exceptional pieces we have seen by Joe Aguilar.  He began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques for the polychrome or black-on-white pottery. This unique piece is a terraced bowl. The mountain steps are on one side and the center of the bowl is meant to represent the lake below the mountains. There are two avanyu painted along the interior sides of the bowl.  The bowl was traditionally fired and there is a slight dark cast to the cream colored clay due to the smoke in the firing. The interesting part of the firing, however, is that on the bottom you can see fingerprints of where he handled the bowl before it was fired!  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 950.00
Aguilar, Joe – Bowl with Rain Cloud Designs (1950’s)

Joe Aguilar began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques and designs for his work. This wide bowl is slipped red on the inside and creame on the outside.  It is painted in black with a rain cloud and rain designs. The use of the lines in his design was a signature of his painting.  On this bowl the pattern is repeated four times.  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 650.00
Naranjo, Dominguita Sisneros – Bowl with Incised Mesa Designs

Dominguita Sisneros Naranjo is a daughter of noted Ohkay Owingeh potter Tomasita Montoya and a sister of Rosita de Herrera. This bowl is coil built and the top rim is pushed down in an undulating manner.  The top and bottom are fully polished red.  Interestingly, this is either an early piece of her pottery, or she found some of her mother’s old slip, as the red on this piece is the deep red from the earlier Ohkay Owingeh pottery. The body of the bowl is tan polished and incised with a mesa and cloud motif. The incised area is lightly slipped with a micaceous clay.  It is signed on the bottom in the clay, “Dominguita Sisneros”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 175.00
Montoya, Tomasita – Incised Red & Tan Water Jar (1960’s)

Tomasita Montoya is one of the early revivalists in San Juan pottery.  She was one of the original seven San Juan potters who revived the art form in the 1930’s.  The Pueblo was renown for their pottery but by about 1890 there were no potters left. In 1930 Regina Cata organized a pottery study group at San Juan Pueblo with the intent of revitalizing pottery production. The group studied ancient potsherds of wares made at San Juan in earlier times and selected Potsuwi‘i Incised Ware (1450-1500) as a basis for a contemporary pottery type.  This jar is one of her classic incised water jars.  The neck and base are both fully polished red.  The center section is incised with a square pattern.  There is just a bit of mica used to highlight the incised designs.  This jar is in good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Tomasita Montoya”.

$ 500.00
Redbird, Ida – Large Plainware Bowl

Ida Redbird is one of the best known of the potters involved in the revival of Maricopa pottery from 1937-40. She was featured in Arizona Highways in 1948. Her pottery is made using a paddle-and-anvil technique and they are twice fired.  This is one of her few plainware pieces.  It is larger in size and fully polished on the outside.   Although it is plain, it is a great color and a classic of Maricopa pottery!  It is in good condition with no chips, cracks, restoration or repair.  It is signed, “Ida Redbird” on the bottom.  It comes with the newspaper article about her passing in 9171.

$ 400.00
Virginia Romero – “Hobnail” Rim Micaceous Bowl (1967)

This is a fascinating piece by Virginia Romero. She is one of the great names in keeping micaceous pottery alive at Taos Pueblo.  This bowl is one of her pieces from the 1967 and it is micaceous clay (clay with mica), which was often used for utilitarian pottery.  The bowl has a “hobnail” design, which are the bumps which encircle the rim of the piece.  There are some great fire clouds on the bowl.  Interestingly, it has been over four years since we had a piece of her pottery come back to the gallery!  The bowl is signed and dated on the bottom, “Virginia Romero, 12/67”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 125.00
Ortiz, Seferina – Storyteller Bowl with Six Kids

Seferina Ortiz is the matriarch of a family of renowned potters, including Virgil Ortiz, Janice Ortiz, and Lisa Holt. This is one of her classic pieces which combines figure and vessel. The jar is a classic Cochiti shape with the high shoulder. The design is a rain pattern which encircles the rim.  There are six children on the outside of the jar.  They are all positioned and painted to appear to be interacting!  The jar is slipped with white Cochiti clay and painted with red clay slip and wild spinach plant (black). The piece is signed on the bottom.  It was traditionally fired and in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic!

$ 875.00
Garcia, Tina – Long Neck Jar with Fluted Rim

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.

$ 1,000.00
Lonewolf, Joseph – “Leaping Grasshoppers” Seedpot (1997)

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.

$ 1,600.00
Lonewolf, Joseph – “Lone Chipmunk” (1986)

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.

$ 1,600.00
Lonewolf, Joseph – “Call to The Creatures” (1984)

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.

$ 2,000.00
Lonewolf, Joseph – “Secreted Fawn” Seedpot (1998)

This seedpot by Joseph Lonewolf is from 1998.  The piece is entitled, “Secreted Fawn”.  It includes a signed version of the card which Joseph made for each of his miniatures.  This piece was actually made for our show at the gallery with Joseph and Grace Medicine Flower in 1998.   Joseph wrote partially of this piece,

“Portrayed against a blue sky background is a single realistically designed Mule Deer fawn, most of which are born in June or July.  Nestled, side view, in an abundance of sheltered valley grasses, remote to other members of the heard, the fawn is partially encircled by eight yellow disked, red tipped daisy blossoms, which denote all that is sweet, or pleasant, in life.

Three small realistically designed cabbage white  butterflies, symbolic of beauty in life, are portrayed with the fawn.  two wings about the new born in a delicate, unhurried flight and one alight on the tip of the newborn’s right ear.”

On the back of the seedpot in the red is a Mule Deer buck, doe and fawn sketched into the clay.  They are inspired by the Mimbres pottery designs of the 11th century.  The interlocking rings medallion represents the attachment between friends and was the yearly symbol for 1997.  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.  There is also a photo of Joseph holding the piece! It is in excellent condition with no chips, cracks, restoration or repair.

$ 4,000.00
Naha, Sylvia – Jar with Lizard & Corn Plant Designs

Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This jar has two of her classic designs, the lizards and the corn plants. Each lizard is painted with a series of triangular geometrics.  They are painted at a slant on the jar.  Separating the lizards are two corn plants. Corn has strong symbolism for prosperity and abundance.  The jar is in excellent condition with no chips, cracks, restoration or repair.  The jar is signed on the bottom with a feather and an “S”.

$ 800.00
Navasie, Joy “Frogwoman” – Large Water Jar with Birds (1980’s)

This is a large water jar by Joy Navasie.  It is slipped with the white clay and then painted with natural clay slips and bee-weed (black).  The shape is a classic for her with a round body and a slightly turned out neck.  The neck has a single band of rain and cloud designs. The sides of the jar are fully painted in four panels.  Two panels are birds and the other two are bird tail designs. The black painted with bee-weed (a plant) and the red is a deeper red clay she began to use in the 1980’s.  The jar is fully polished, even on the inside!  It has been traditionally fired so there are some variations in the coloration from white to almost a pinkish color.   The jar is signed on the bottom with her Frog Hallmark.  It is in very good condition with no chips, cracks, restoration or repair. 

$ 1,800.00
Haungooah, Art Cody – Seedpot with Frogs (1981)

This is a classic stylized seedpot by Art Cody Haungooah.  It is fully polished and etched in his signature “asymmetrical’ manner, meaning there are two medallions but they are not on opposite side, and there is a section which is just plain.  In one of the medallions, there are four frogs and a central lily pad.  They are surrounded by a feather pattern.  The second medallion also has a circle of feathers and in the center is a stylized bird.  Separating the two is a design with three prayer feathers.  The piece is from 1981 when he signed his work with his name and a flute player.  The piece is in very good condition with no chips, cracks, restoration or repair.r repair.

To learn more about Art Cody Haungooah, click below:

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

 

$ 600.00
Haungooah, Art Cody -Jar with Feather (1972)

This is a very early piece by Art Cody Haungooah.  It is a tall jar which is fully polished and carved around the shoulder. The carved design is a single feather, which he has etched into to the clay.  The remainder of the jar 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 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

 

$ 100.00
Haungooah, Art Cody – Bowl with Pueblo Bird (1972)

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

 

$ 250.00
Haungooah, Art Cody -Red and Brown Bowl with Feather Pattern (1977)

This is bowl by Art Cody Haungooah is from 1975.  The style of this bowl was some of the favorite work that Art made during his career.  Here, the top of the bowl is slipped with a brown clay, while the bottom half is red.  The bowl is etched around the center with a stylized feather pattern.  The area around the design is more deeply etched to reveal the tan clay. The bowl was made by Martha, while Art did the polishing and designs.  The bowl is indented on the bottom and also fully polished.  It is signed, “Art & Martha Haungooah, Santa Clara Pueblo, 1977”.  It is in 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

$ 575.00
Haungooah, Art Cody -Jar with Fox and Feathers (1975)

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

$ 500.00
Nahsonhoya, Agnes – Carved Seedpot with Bird

Agnes Nahsonhoya is a daughter of noted potter Pauline Setalla and a niece of Eunice “Fawn” Navasie. She is also the sister of Dee Setalla and Stetson Setalla. She learned to make pottery from her mother and her aunt. Her pieces are signed her name and also a bear paw, as she is bear clan.  This seedpot is coil built and carved with a bird circling the side and top of the piece.  The sections of the bird are carved into the clay and consist of rain and cloud patterns.  The head of the bird sprials onto the top of the piece.  It is signed on the bottom.

 

$ 300.00
Haungooah, Art Cody & Martha – Bowl with Howling Coyote and Moon (1976)

This is one of the few pieces signed by both Art Cody Haungooah and his wife, Martha.  Martha made the small jar and polished the surface.  Art Cody etched the design.  The central medallion is a howling coyote.  In front of the coyote is a quarter moon.  On the opposite side of the moon is a stylized bird.  There is just a slight lip to the jar.  The piece is signed on the bottom in the clay, “Art & Martha Haungooah  1976”.  It is in excellent 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

$ 500.00
Gutierrez, Margaret & Luther – Jar with Warriors and Animals (1970’s)

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.

$ 900.00
Da, Popovi – Sienna Feather Design Bowl “Popovi 965”

 

This is a unique sienna bowl Popovi Da, a son of noted potter Maria Martinez.  This bowl was made, polished and painted by Popovi Da.  It has a striking design of a feather pattern painted onto the surface.  It is unusual, however, as it is sienna in coloration. The sienna coloration is some of the rarest of the various colorations which Popovi Da created.  While the pottery of Popovi Da is rare, his sienna pottery is even more scarce!   To achieve this coloration, the piece is first fired black and then it is re-fired a second time to burn off the black and create the sienna.  This increases the risk of it breaking in the firing.  Today, there are no potters who are double firing their entire piece to create the sienna coloration!  It is signed on the bottom in the clay, “Popovi 965“. The signature indicates that it was made around in September, 1965.   The bowl is in very good condition with no chips, cracks, restoration or repair.  There is also the original invoice for the bowl from 1965 from the Popovi Da studio!

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

$ 4,000.00
Roybal, Tonita – Black-on-Red Bowl with Cloud and Rain Designs (1920’s)

It is very rare that we come across a black-on-red piece by Tonita Roybal.  This bowl is an early piece from the 1920’s.  Tonita and her mother, Dominguita Pino, were both very well known for their black-on-red pottery before the advent of the black-on-black pottery in 1920.  This bowl has beautifully painted designs in the band around the shoulder.  There are cloud and rain motifs which extend from the rim to the shoulder.  It is a smaller bowl and the design perfectly fits the shape of the piece.  The bowl is signed on the bottom, “Tonita”.  It is in very good condition with no chips, cracks, restoration or repair. This bowl has exceptional provenance.  It was part of the original collection of Dick Howard and his original inventory number is on the bottom. As well, the sticker with the red outline may well place it as a piece for one of the early Santa Fe Indian Markets.  Unfortunately, the writing is gone from the sticker over time.  This is definitely a piece of history, as much as piece of art!

$ 2,200.00
Martinez, Maria – Jar with Avanyu (Maria Popovi 365)

This is a long neck water jar by Maria Martinez and her son, Popovi Da.  Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and has the classic water serpent (avanyu) painted around the shoulder. This particular shape, with the round body and the elongated neck, is one which is easily one of Maria’s most famous forms.  The firing is nearly gunmetal in coloration with a very high shine.  The jar is signed on the bottom in the clay, “Maria Popovi 365“. The signature indicates that it was made around in March, 1965.  Interestingly, there is also the invoice from the original purchase!  What a great addition to the provenance.  The jar is in very good condition with no chips, cracks, restoration or repair.

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

$ 5,500.00
Gutierrez, Denny -Faceted Melon Jar with Lid (2006)

Denny Gutierrez was known for his faceted melon bowls. As opposed to carving them, he would flatten out each rib out to create a “faceted” appearance.  The result was a reflective surface and a very striking piece of pottery.  This jar has 32 melon ribs which are straight at the shoulder and then swirl below the shoulder.  The area above the melon ribs is polished and the lid is also fully polished.  The jar is signed on the bottom in the clay, “Denny Gutierrez Santa Clara 06”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 600.00
Martinez, Maria – Sienna Avanyu Design Bowl “Maria Popovi 670”

This is a unique sienna bowl by Maria Martinez and her son, Popovi Da. Maria made and polished the bowl while it was painted by her son, Popovi Da  (1923-1971). The bowl is highly polished and has an avanyu (water serpent) as the main design.  It is unusual, however, as the sienna coloration is some of the rarest of the various colorations which Popovi Da created.   To achieve this coloration, the piece is first fired black and then it is re-fired a second time to burn off the black and create the sienna, or camel coloration.  This increases the risk of it breaking in the firing.  Today, there are almost no potters who are double firing their entire piece to create the sienna coloration!  It is signed on the bottom in the clay, “Maria Popovi 670“. The signature indicates that it was made around in June, 1970.   The bowl is in very good condition with no chips, cracks, restoration or repair.

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

$ 5,800.00
Gonzales, Rose – Carved Plate with Bird Design

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery.  This is a large plate with a very deeply carved bird as the design.  The edge of the plate has a cloud pattern and the bird is carved in a very modernist manner.  It has been highly fired and as with much of her work there are gunmetal fired areas of coloration.  The back of the plate is also fully polished.  It is signed, “Rose” in the clay.  It is in good condition with no chips, cracks, restoration or repair.  There are some light surface scratches on both the front and back.  Rose’s legacy an certainly be seen in the work of Tse-Pe, Dora Tse-Pe and Russell Sanchez.

$ 1,400.00
Shutiva-Hista, Jackie – Corrugated Water Jar

Jackie Shutiva-Hista (b. 1961) is a daughter of noted potter Stella Shutiva.  She learned to make pottery from her mother who was known for her corrugated pottery. This water jar is fully corrugated, which simply means that the coils are left exposed and they are pressed down using a tool or the potter’s finger.  Jackie typically uses her finger to impress the clay, creating this stylistic appearance.  Her mother’s corrugated style of pottery was inspired by pre-historic style corrugated vessels.  The jar is signed on the bottom, “J. Shutiva”.

$ 175.00
House, Conrad – Modern Fetish Bowl and Prayer Sticks (1988)

This is an exceptional piece by multi-media artist Conrad House (1956-2001).  Much like me, you might be familiar with the name “Conrad House”, but not necessarily award of his art.  He was Dine/Oneida and his work was significant in redefining Indian art, utilizing many art mediums to preserve symbols and images of his culture and world cultures. His works are in the collection of the Smithsonian’s National Museum of the American Indian, Portland Art Museum, Wheelwright Museum, Heard Museum, Navajo Nation Museum and numerous museums and galleries around the world.  In 2002, the Heard Museum Guild created the “Conrad House Award for the Most Innovative Artist. Winners of the Conrad House Award include Marilou Schultz, Travis Emerson, D. Y. Begay, Polly Rose Folwell, Barbara Teller Ornelas, Marvin Oliver, Pat Pruitt, Jason Garcia, Warren Coriz, Melissa S. Cody, Orlando Dugi, Ryan Lee Smith, Susan Folwell, Berdine Begay, Shan Goshorn, ShoSho Esquiro, and Marlowe Katoney.  In 2006, the University of New Mexico’s Art Museum held a retrospective of his art entitled, “A Life in Balance: The Art of Conrad House”.

This set is what Conrad referred to as a “Sacred Toy”. It is a contemporary version of the historic Zuni Fetish bowl and reflects his “obsession with the duality of daily life”.  Here the jar is made from clay the surface is a metallic glaze, which almost looks like glass.  The fetishes around the outsides are all badgers, except for the one light blue one, which is a pick up truck.  The side of the jar has a hole for “feeding the fetishes”.  Inside the jar is a clay “x” instead of the more traditional cornmeal, which reflects Conrad’s desire to create an “innovative sacred vessel for the future”.  The two prayer sticks are also glazed and each has a bear fetish attached to the stick.  There are tabs on each of the two prayer sticks, which are painted like pottery shards, which are signed and dated, as part of the set.  There is certainly the mixture of the traditional and the modern in this work.  The set is in excellent condition with no chips, cracks, restoration or repair. It was purchased directly from the artist and the more detailed information about the piece itself comes from his sister.

$ 4,000.00
Torivio, Dorothy – Miniature Wide Jar with Yucca Leaf Design

This is a classic shaped miniature jar by Dorothy Torivio.  She was among the first to utilize and then refine the “op-art” style in her Acoma pottery. She took classic Acoma patterns and then repeated them on a vessel, ranging the size from small to large and then small again, in accordance with the shape of the vessel.  The shape of the jar is one which Dorothy created to emphasize her patined designs.  The long neck has a yucca leaf pattern, which is repeated in smaller and then larger sizes.  The open space of the white and the contrasting black give the jar a very modern appearance.  The jar is signed on the bottom, “Dorothy Torivio” and it is in excellent condition with no chips, cracks, restoration or repair.

$ 425.00
Martinez, Santana & Adam – Bowl with Lightning Designs (1970’s)

This is one of the smaller pieces we have had by Santana and Adam Martinez.  Adam was the youngest son of Maria Martinez, and Santana painted Maria’s pottery in the 1940-50’s. The entire surface is fully polished.  The design is painted around the shoulder of the bowl.  It is a rain and lightning pattern.  The bowl was traditionally fired to a very dark black appearance.  It is signed on the bottom in the clay, “Santana + Adam”. It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic piece!

$ 350.00
Roybal, Tonita – Jar with Lightning Design (1930’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This jar is one of her distinctive shapes which has a wide shoulder and a sloping neck.  The design is painted on the polished surface with a very modernist style.  There is a rainbow band with rain and lightning designs below.  As the jar is turned there is a double lightning pattern.  It is a complex design but striking and note as well how the firing of the black has created areas of gunmetal coloration!  Below the shoulder is a checkerboard pattern.  The jar was made and polished by Tonita and painted by Juan Cruz, her husband. It is signed, “Tonita + Juan” on the bottom in the clay. It is in very good condition with no cracks, restoration or repair.

Click here to read about the Early San Ildefonso Innovators

$ 2,400.00
Tafoya, Margaret -Jar with Lightning Design (1960’s)

This is a small bowl by Margaret Tafoya is from the 1960’s.  The jar is fully carved with four panels of designs.  Each panel has a lightning design separated by a vertical line, which represents the rain.  While Margaret was known for her large vessels, why make something so small?  The reason is that potters of her generation would not ‘throw away” clay that was not used, but also not mix a large portion of it with the new clay.  So, when they were running out of clay, they would often make smaller vessels like this bowl.  It is signed on the bottom in the clay, “Margaret”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 875.00
Tafoya, Margaret – Bowl with Carved Avanyu (1960’s)

This is a small bowl by Margaret Tafoya is from the 1960’s.  The bowl is fully carved with a water serpent as a design.  As the bowl is turned the body of the water serpent (avanyu) creates cloud and lightning designs.  The mouth and eye of the avanyu are painted onto the clay, which was very typical of this time.  While Margaret was known for her large vessels, why make something so small?  The reason is that potters of her generation would not ‘throw away” clay that was not used, but also not mix a large portion of it with the new clay.  So, when they were running out of clay, they would often make smaller vessels like this bowl.  It is signed on the bottom in the clay, “Margaret”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 875.00
Curran, Alvin – Bowl with Incised Mountain Design

Alvin Curran was possibly the most refined and sophisticated San Juan style potter of his generation. He was married to Dolores Curran and his daughter is Ursula Curran, both of whom continue to make pottery.  Alvin took the traditional style of incised San Juan polychrome pottery and refined his carving and painted designs.  This is an early piece of his pottery an made in the very classic style of San Juan incised designs.  The top and bottom are slipped with mica and the central band is polished tan and has triangular mountains and rain designs.  It is signed on the bottom in the clay, “A.  Curran”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 150.00
Baca, Angela – Round Melon Bowl with 24 Ribs

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.

$ 575.00
Blue Corn – Tile with Lightning Design (1960’s) (#23)

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery.  This tile is one of a group which has a fascinating history.  They were made in the 1960’s for a CG Wallace Hotel in Albuquerque.  Each tile is signed on the back in the clay and each also has a sequential number and how it should be placed (up, down, etc).  They were meant to be used as tiles in a wall but were never removed from their box! This tile is painted black-on-black and has a lightning and wind design.  Note how even the sides of the tile are fully polished!  The tile is signed, “Blue Corn, San Ildefonso”.  It is tile number “23”.  It is in very good condition with no chips, cracks, restoration or repair.  Definitely a fascinating piece of history! The last photo is one that I took of all the tiles in their correct sequence and placement.

$ 275.00
Cain, Mary – Bowl with Cloud and Wind Designs

Mary Cain was a daughter of Christina Naranjo and a granddaughter of SaraFina Tafoya.  Her granddaughters Tammy Garcia and Autumn Borts-Medlock, continue a family tradition of making exceptional pottery.  She was known for her classic style Santa Clara pottery.  This bowl is carved with a cloud and wind pattern which encircles the piece.  The bowl is highly polished and fired a dark black.  It is signed on the bottom, “Mary Cain”.    It is in very good condition with no chips, cracks, restoration or repair.  One great piece of ephemera with the bowl is one of her business cards!

$ 300.00
Martinez, Maria  – Jar with Feather Design (Maria + Santana, 1954-6)

This is a classic jar by Maria Martinez.  It was made by Maria Martinez and painted by her daughter-in-law Santana Martinez (the wife of Adam Martinez, Maria’s son).  It is very highly polished and has a glassy surface.  The design is a feather pattern which encircles the shoulder of the jar.  The shape of the bowl has a wide shoulder and a sloping neck. The feather are painted very tightly from the rim to the neck. The bottom of the jar is indented and signed in the clay.   It is in very good condition with no chips, cracks, restoration or repair.  

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

$ 1,800.00
Begaye, Nathan – Large Polychrome Jar with Cloud Swirls

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  His pottery used traditional designs, forms and techniques, yet somehow appeared very modern.  This large jar by Nathan is coil built and stone polished vertically to create an “onion skin” appearance to the surface.  The jar is then painted with different clay slips of various colors. All his different colors were always natural clays.  The design on this jar takes it inspiration from the ancient Tularosa pottery and their swirl patterns, as well as the cloud designs on Hopi pottery.  The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

$ 1,100.00
Roybal, Tonita – Large Bowl with Rain and Bird Wing Designs (1930’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This is a large bowl with very complex designs. The bowl was made and polished by Tonita and painted by Juan Cruz, her husband. The design is a bird wing pattern along with both fine-line and hatchwork patterns, which are certainly a signature of Juan’s painting.  IT works beautifully on this bowl to create a complex variation of design and yet still reveal the highly polished surface.  The bowl is signed, “Tonita + Juan” on the bottom in the clay. It is in very good condition with no cracks, restoration or repair.  There is one small ding on the rim.   This bowl has an interesting provenance as if you note the tags on the bottom, it is from the collection of Dick Howard.  It was one of the pieces featured in his 2002 catalog of her work.  It’s always fun to see pieces come back from that exhibition!

 

 

 

 

 

 

 

$ 3,600.00
Naranjo, Madeline – Large Wedding Vase with Carved Avanyu (1970’s)

Madeline Naranjo (b. 1916) was known for her deep carved pottery.  This large wedding vase is carved around the body of the piece with an avanyu (water serpent).  Note how wonderfully she used the negative space on the jar so that the design seems to flow up the spouts!  There are clouds extending down from the center of the piece and up the spouts are lightning designs.  The avanyu is often depicted with rain and cloud patterns as it story tells of the water serpent who saves the village from a flood. The wedding vase is signed, “Madeline Naranjo” on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  While Madeline no longer makes pottery, her work is certainly a classic and her legacy continues in the pottery of her granddaughter, Madeline E. Naranjo.

$ 1,200.00
Gonzales, Tse-Pe – Large Bowl with Avanyu & Green Heartline Bear

Tse-Pe Gonzales was a son of noted potter Rose Gonzales.  This is one of his larger pieces.  It has a central medallion which is polished green and etched with a bear. There is a single inset piece of shell hei-shi for the eye.  The remainder of the bowl is slipped with a micaceous clay.  There is a water serpent encircling the bowl and there is a piece of turquoise hei-shi for the eye.  The green clay slip for the central design was a natural slip which Tse-Pe used over the years.  Note as well the stippling of the matte areas around the designs.  This style was a visual signature to Tse-Pe’s technique.  It is signed on the bottom with Tse-Pe’s hallmark. It is in very good condition with no chips, cracks, restoration or repair.

$ 800.00
Sanchez, Angelita – Red Bowl with Feathers & Rainclouds

This is a large bowl by Angelita Sanchez.  It is a classic round shape and polished red. The designs are painted with a matte clay.  There are two sections of eagle feathers and two sections with rainclouds.  The bowl has been traditionally fired and has a classic red coloration. It is signed on the bottom in the clay, “Angelita Sanchez”.   It is in very good condition with no chips, cracks, restoration or repair.  Angelita was a daughter of Isabel Antencio and a sister of painter Gilbert Atencio and potter Helen Gutierrez. She did not make a lot of pottery over the years.

$ 400.00
Martinez, Maria – Jar with Mountain Design (Maria Popovi 660)

This is a wide jar by Maria Martinez and her son, Popovi Da.  Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and has a distinctive step or mountain design around the shoulder of the piece.  The three lines around the rim are typical of Popovi Da’s work.  The firing is nearly gunmetal in coloration with a very high shine.  The jar is signed on the bottom in the clay, “Maria Popovi 660“. The signature indicates that it was made around in June, 1960, making it an early dated piece.  The jar is in very good condition with no chips, cracks, restoration or repair.  There is one small rub on the shoulder.

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

$ 4,000.00
Martinez, Santana & Adam – Bowl with Lightning & Mountain Designs (1970’s)

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

$ 600.00
Tahbo, Mark  – Large Jar with Sikyatki Birds (1990’s)

Mark Tahbo learned to make pottery from his great-grandmother, Grace Chapella.  His pieces reflect the wonderful symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black. This large jar is one of his pieces from the 1990’s. The shape is inspired by the ancient Sikyatki pottery, where the vessels were very wide and flat.  This jar is stone polished and the top is painted with a bird wing and bird head as the design.  The placement of the imagery gives the piece a very modern appearance.  The jar was traditionally fired which created the blushes on the surface.  It is signed on the bottom, “Mark Tahbo”  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,200.00
Navasie, Paqua- Ash Tray/Open Bowl (1930’s)

Paqua Naha was the mother of noted potter Joy “Frogwoman” Navasie and the mother-in-law of Helen “Featherwoman” Naha. She was known for her traditional designs and use of the various colors of clay at Hopi.  She developed the white ware in around 1951-2. She was the first to sign her pottery with her Frog Hallmark, as “Paqua” means Frog in Hopi. This is one of her “ash trays”, which was probably made for being a souvenir.  It is made from the red clay and the painted with designs around the side and on the top.  The piece is signed with her hallmark Frog.  The piece is in very good condition with no chips, cracks, restoration or repair.  It appears as if it was varnished at some time, which was often typical with “utilitarian” pieces which would be used.

$ 175.00
Tafoya, Legoria – Open Bowl with Handle (1960’s)

Legoria Tafoya Legoria was a sister of painter Pablita Velarde. She was the mother of noted potter Celes Tafoya. This unique open bowl is actually a traditional shape. The form is a “scoop”, the type of which would be used as a serving bowl in traditional pueblo meals. This piece has a slight rim and the handle is braided clay.  The surface is stone polished and the piece is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 150.00
Redbird, Ida – Bowl with Cloud Design

Ida Redbird is one of the best known of the potters involved in the revival of Maricopa pottery from 1937-40. She was featured in Arizona Highways in 1948. Her pottery is made using a paddle-and-anvil technique and they are twice fired. The black designs are derived from a mixture of mesquite sap and cactus spines.  This bowl is a round shape with a polished exterior and matte interior.  The design is a cloud pattern which encircles the rim of the piece.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Ida Redbird” on the bottom.

$ 275.00
Tahbo, Mark  – Large Jar with 16 Kastsina Masks (1998)

This is an exceptional large jar by Mark Tahbo. It came from a collector who purchased it directly from Mark. It looked very familiar and when I went though some old photos, I realized I had been at Hopi the day it was fired!  Mark had been firing pieces for Santa Fe Indian Market in1998 and asked me to come up and photograph some of the firings.  At the end of the photos are some photos of this being taken out of the firing! What an amazing coincedence!  It’s no surprise that this jar is thin walled and a great shape.  The entire surface is fully polished. The jar was made in 1998 and it was one of the first times he had deviated from more classic Sikyati designs of Nampeyo and his great-grandmother Grace Chapella.  Here each of the figures around the shoulder has a different katsina mask including the grandmother katsina, hornet, cloud, star, and others.  Note how the mask of each one is different and painted with both red, white and mauve clay slips!  The band closer to the neck has star, bird, corn, raincloud, butterfly and flower patterns.  Again, they are painted with the various clay slips!  The complexity in design and the variations in color are certainly a hallmark of this period of his pottery. The jar was traditionally fired and there are great blushes on the surface. Mark fired his pottery outdoors using sheep dung and the smoke created the intense colorations.  He was always fascinated with the blushes in the clay and worked hard to give his pottery a rich appearance. This jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed and dated on the bottom. 

$ 3,000.00
Chino, Grace – Large Jar with Geometric Designs (1989)

This is one of the largest jars we have had by Grace Chino.  She was a daughter of noted potter Marie Z. Chino and a sister of noted potters Carrie Chino Charlie and Rose Chino. Over the years she won numerous awards for her pottery at Santa Fe Indian Market and her work was featured in the “7 Families in Pueblo Pottery” and in museums around the country.  This large jar is just black-on-white and it has the shape much like some of the ancient Chaco or Mesa Verde pottery.  This jar has a mountain design around the neck and the body of the piece has swirling patterns with flower and feather designs. The graphic pattern of the designs is further enhanced by the fineline interior designs in many of the sections. As the jar is turned there is a constant flow of imagery.  The jar was traditionally fired and so there is just a tinge of blush near the base.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed and dated on the bottom.

$ 3,000.00
Tahbo, Mark  – Jar with Sikyatki Butterflies (1996)

Mark Tahbo learned to make pottery from his great grandmother, Grace Chapella.  His pieces reflect the wonderful symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black. This jar from 1996 harkens to his early work and it is unexpectedly thin, which makes it a delight to hold.  The jar is a shape which allows for the painted designs to flow up from the shoulder to the neck. It is an interesting pattern, as it one which Mark rarely used on his pottery.  It is a pair of opposing butterflies on each side of the jar.  Their bodies are made up of traditional Hopi-Tewa designs. and separating them are stylized wing patterns.  It is his own variation on the classic “eagle tail” pattern which is often used, but here with the butterflies as a replacement.  Of course, the jar was traditionally fired and the blushes, which  he loved on his  pottery, cover the surface and enhance the design.  The jar is in excellent condition with no chips, cracks, restoration or repair.

$ 1,200.00
Martinez, Maria – Feather and Bird Wing Plate (Maria + Popovi)

This is a variation on the classic eagle feather design plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished with a deep black shine.  The design has the eagle feathers and the bird wings.  The plate is signed on the back in the clay, “Maria Popovi“. The signature indicates that it was an early piece of their pottery from 1956-9).  The plate is in very good condition with no chips, cracks, restoration or repair. I included photos of the plate turned in different directions to show how the shine appears on the piece.

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

$ 2,000.00
Blue Corn – Polychrome Bowl with Carved Avanyu (1970’s)

Blue Corn is often best known for her polychrome pottery and her creative use of various clay slips on her pottery. She learned to make pottery from Maria Martinez at San Ildefonso.  This is one of her few carved pieces which is also polychrome. The bowl is carved with a water serpent (avanyu) encircling the piece.  The bowl is polished tan and the avanyu and the carved areas are outlined with a black clay.  The background areas is slipped with a red clay.  The result is a striking appearance where the depth of the carving is enhanced by the coloration.  The bowl is signed on the bottom in the claym “Blue Corn, San Ildefonso”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,000.00
Gonzales, Rose – Bowl with Bird Lid

This is a unique lidded bowl by Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery.  The bowl is round and fully polished.  The lid is in the shape of a bird and it is also fully polished.  Note however, that the lid is very sculptural in appearance with an indented and rounded back.  The bowl is signed on the bottom in the clay.  It is very good condition with no chips, cracks, restoration or repair.

$ 1,200.00
Curran, Alvin – Bowl with Mountain and Snow Designs

Alvin Curran was possibly the most refined and sophisticated San Juan style potter of his generation. He was married to Dolores Curran and his daughter is Ursula Curran, both of whom continue to make pottery.  Alvin took the traditional style of incised San Juan polychrome pottery and refined his carving and painted designs.  Each piece is fully carved and then red and white clay slips are added to create the color.  Amazingly, each year at events such as Santa Fe Indian Market, he would enter his pottery in the “carved” categories and win against much more deeply carved and fully polished traditional Santa Clara pottery.  It was a reflection of the precision of his work. This bowl is one of his smaller pieces.  It is stone polished on the rim and the base.  Around the body of the jar, it is incised and has a mountain pattern and the white slip above represents the snow.  The other designs are wind and clouds.  The designs are precision cut into the clay before firing.  It is signed on the bottom in the clay, “Alvin Curran”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 350.00
Nampeyo, Elva Tewaguna – Bowl with Migration Pattern (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This bowl has a very tightly painted classic migration pattern as the design.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  The original price tag from when it was purchased in the 1970’s is still on the bottom! Her daughter Adelle Nampeyo continues in the same family tradition.

$ 275.00
Nampeyo, Elva Tewaguna – Mini Bat Wing Bowl (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This small bowl is a very traditional design with a batwing pattern.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 200.00
Nampeyo, Fannie – Bowl with Migration Pattern (1970’s)

Fannie Nampeyo was the youngest daughter of noted potter Nampeyo of Hano and also the mother of noted potters Iris Nampeyo, Leah Nampeyo and Thomas Polacca.  She was certainly among the most skilled of her generation for painting designs pottery.  While her mother revived the “migration” or bird wing design, Fannie made is a signature design of her pottery and of the Nampeyo family.  This bowl is very flat, in the style of the ancient Sikyatki pottery. The design is a migration pattern painted onto the surface.  The bowl was traditionally fired so that it has some visually striking blushes on the surface.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Fannie Nampeyo”.

$ 800.00
Chavarria, Harvey & Debra Trujillo – Flat Seedpot with Flute Player (1980’s)

This is an intricate seedpot by Debra Trujillo (Duwyenie) and Harvey Chavarria.   The seedpot has a flute player etched into the clay next to a sun design inset with a piece of turquoise.  The bowl is highly polished and Debra etched the designs before it was fired.  The shape is narrow with a fully polished back.  It signed on the bottom in the clay.   The piece is in very good condition with no chips, cracks, restoration or repair.

$ 300.00
Nampeyo, Elva Tewaguna – Wide Bowl with Bat Wing Design (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is a very traditional form for Hopi-Tewa pottery.  This design, the bat wing pattern, is one which was revived by Nampeyo of Hano.   The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 500.00
Tafoya, Margaret – Red Bowl with Clouds over the Mesa Design (1980’s)

This  is a smaller red bowl by Margaret Tafoya is from the 1980’s. The bowl is carved and fully polished.  The design is deeply carved and represents the clouds coming over the mesas and then the rain. The the carved line below represents the path taken around the mesas.  It is a simple but striking piece.  The carving is deep and it is highly polished and fired a deep red.  The bowl is signed on the bottom in the clay, “Margaret Tafoya”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,500.00
Tafoya, Margaret – Large Wedding Vase with Bear Paws & Ribbon (1972)

Margaret Tafoya was known for her large-scale pottery.  This exceptional wedding vase is 16 inches tall and fully polished. There are bear paws on both sides. The bear paw is symbolic on her pottery of a Santa Clara story where the bear led the Pueblo people to water during a drought.  The fully polished pieces by Margaret are always the most difficult to make. The entire piece has to be polished at one time!  It is amazing that she could get such an exceptional polish on these large pieces.  As well, not the shape.  Margaret was known for her wedding vases and their round body and the very straight and tall spouts. The symmetry of her wedding vases is something that few other potters have been able to achieve!  It is certainly a testament to the skill, shape, and shine of this piece that it received a blue ribbon at the 1972 Santa Fe Indian Market!  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Tafoya”.   Definitely a piece of significance in size and history!

$ 14,800.00
Lewis, Lucy –  Large Jar with Lightning Design (1968)

Some of the best work of the career of Lucy M. Lewis is from the period when she dated her pottery in the late 1960’s.  This large jar is a classic from that period and one of the larger pieces we have seen from her from this time.  It is a jar shape with a high shoulder and a slight neck.  The patter is her famous “Lightning Design” which was inspired by the ancient pottery from Chaco Canyon. The design is one that is free-flowing and covers the entire surface of the jar. The lines are tight and crisp against the white background.  The jar is signed on the bottom “Lucy M. Lewis” and it is dated 1968.  It is in very good condition with no chips, cracks restoration or repair.  Certainly one of the classic pieces by this important matriarchal potter!

$ 4,000.00
Da, Tony – Black & Sienna Plate with Antelope (1969)

While the pottery of Tony Da has been well documented, it is still exciting to have a piece with such an exceptional provenance.  This gunmetal fired plate is a significant piece in the history of his pottery.  It is one of approximately 6 pieces which he dated during his career.  In 1969 he created a group of plates, of which each was different.  These plates were all dated.  This is the only black and sienna one without a stone, which has a date. The plate was fired a gunmetal silver and then the rim was two-toned to make it sienna.  The design is an antelope, which was etched into the clay before the firing. The antelope style of the design was inspired by the Mimbres pottery of the 1100’s.  While he made other black and sienna plates, this one has a unique historic legacy.  It is signed and dated on the back in the clay, “DA 6 69”.  It is in excellent condition with no chips, cracks, restoration or repair.  Over the course of a career that spanned from 1967-82, Tony helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.  While he started out as a painter, he made his first pottery in 1967 and his first public showing was at Gallup Ceremonials of that year.

Nampeyo, Fannie – Large Migration Pattern Jar (1960’s)

Fannie Nampeyo was the youngest daughter of noted potter Nampeyo of Hano and also the mother of noted potters Iris Nampeyo, Leah Nampeyo and Thomas Polacca.  She was certainly among the most skilled of her generation for painting designs pottery.  While her mother revived the “migration” or bird wing design, Fannie made is a signature design of her pottery and of the Nampeyo family.  This larger jar is coil built and very tightly painted.  The migration pattern, or bird wings, extend around the entire jar in 10 sections.  The jar was traditionally fired so that it has some visually striking blushes on the surface.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Fannie Nampeyo”.

$ 1,500.00
Tafoya, Ray  – Green Seedpot with Butterflies & Flowers

This miniature seedpot by Ray Tafoya is fully polished and round in shape.  It has a Mimbres inspired flowers and butterflies as the design. The entire piece is fully polished with a green clay slip.   It is etched with the designs and then he used additonal clay colors to accentuate the designs. The seedpot is signed on the bottom in the clay with his hallmark, “White Mountain”.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  Note how many of the designs are similar to ones used today by his daughter, Jennifer Moquino.  

$ 400.00
Haungooah, Art Cody – Bowl with Lizard & Shell Insets (1974)

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

$ 450.00
Naha, Helen “Feather Woman – Water Jar with Bat Wing Design (1970’s)

Helen Naha created distinctive pottery using the white kaolin clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition. This jar has a wonderful shape with a low shoulder and slightly turned out rim.  The design is the classic batwing pattern which extends down below the shoulder.  The bottom has her hallmark “feather”.  It is really wonderful to note her attention to the little details and that even the entire inside of the jar is fully polished! Note the wonderful bold lines of Helen’s painting!  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,800.00
Navasie, Joy “Frogwoman” – Mini Bowl with Lid (1980’s)

Joy Navasie was known for her white slipped pottery and classic use of design elements. She learned to make pottery from her mother, Paqua, who also used the white clay and signed with a frog as a hallmark.  The white kaolin clay is a slip which is applied to the surface of the bowl and then black (bee-weed) and red clay slips are used for painting.  This is one of her few miniatures.  It is from the 1980’s, which can be determined by both the color of the red clay slip she used and the detail in the painting.  Not only did she not make many miniatures, but I’m not sure I’ve seen one with such a complicated lid!  The lid is carved so that it rests inside the mouth of the bowl.  The bowl is painted with a classic bird wing pattern.  It is painted with a red clay slip and the black bee-weed. It is signed on the bottom with her frog hallmark.  It is in good condition with no chips, cracks, restoration or repair.  There is one small area of the black which is fugitive.

$ 475.00
Martinez, Maria – Plainware Pitcher “Marie + Julian” (1920’s)

This pitcher is a piece by Maria Martinez from the late 1920’s.  It is a creative shape with indented sides and a square base. The handle and spout are both fully polished.  It is also indented in the base where it was signed in the clay. Throughout the 1920’s Maria made numerous pieces that were “utilitarian” in style, such as pitchers, creamers, and bowls for sugar.  Because they were often used, they rarely survived well over time, and especially those pieces with handles. This pitcher is in very good condition with no chips, cracks, restoration or repair.  There is just a bit of wear on the side rim. Otherwise, it is amazing that a piece this complicated has survived intact for so many years!  It is signed on the bottom in the clay, “Marie + Julian”.    

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

$ 1,600.00
Lonewolf, Joseph – Mimbres Rabbit Seedpot (1976)

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.

$ 2,500.00
Lonewolf, Joseph – Bowl with Antelope Medallions (1973)

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 bowl is very thin walled and has an indented bottom.  It is fully polished red and there are three medallions.  Each medallion has an antelope as the design.  The antelope are etched into the clay before firing.  The border of each medallion is polished green.  Joseph was one of the first potters to begin using clays that were not red and this is a very early example of his green clay slip.  The remainder of the bowl is fully polished red.  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.  It is signed on the bottom in the clay.

$ 2,400.00
Da, Tony – Bowl with Feather Design and Turquoise (1972-3)

Tony Da had a short career which spanned from 1967-82.  He helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike. This bowl is from 1972-3.  It is fully polished red and the design is etched into the clay after firing.  This bowl has two series of eagle feathers etched into the clay.  It was Tony’s modernistic interpretation of the classic feather pattern seen on Maria’s pottery.  Connecting the two sections of the feather there is a triangular design and a single inset piece of turquoise on each side.  The bowl is signed on the bottom in the clay, “DA”.  It is in very good condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 8,000.00
Lonewolf, Joseph – Jar with Avanyu (1971)

Joseph Lonewolf began making pottery in 1970-1.  This is a very early piece of his pottery.  It is a more classic shape with a wide shoulder which slopes upward.  The bottom half of the piece is fully polished. The top is etched with a water serpent (avanyu) with a feather pattern, which is the style used by him and his family.  The matte background area is deeply etched swirls up from the shoulder and over the rim.  It must have been exciting in 1971 to see work that was so new and unique at the time!  This piece is in perfect condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 1,600.00
Da, Tony – Wide Red Bowl with Avanyu (1972-3)

Tony Da had a short career which spanned from 1967-82.  He helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike. This wide shaped bowl is from 1972-3.  It is a period when the red clay slip was a bit deeper in coloration.  This bowl is fully polished and has a water serpent (avanyu) as the design. The avanyu is etched into the clay and note the sharpness of the horn. The avanyu is symbolic of the village being saved from a flood by the water serpent.  The bowl is signed on the bottom in the clay, “DA”.  It is in very good condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 9,800.00
Da, Tony – Red Jar with Avanyu (1972-3)

Tony Da had a short career which spanned from 1967-82.  He helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike. This jar with a slightly elongated neck is from 1972-3.  It is a period when the red clay slip was a bit deeper red in coloration.  This bowl is fully polished and has a water serpent (avanyu) as the design. The avanyu is etched into the clay and note the sharpness of the horn. The avanyu is symbolic of the village being saved from a flood by the water serpent.  The bowl is signed on the bottom in the clay, “DA”.  It is in very good condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

Lonewolf, Joseph – Seedpot with Chipmunk (1973)

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 polished red and etched with a central medallion.  The design is a chipmunk with lines deeply etched towards the edge of the circle.  The edge of the medallion has a green slipped mountain design.  Joseph was one of the first potters to begin using clays that were not red and this is a very early example of his green clay slip.  The remainder of the bowl is fully polished red.  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.  It is signed on the bottom in the clay.

$ 1,500.00
Lonewolf, Joseph – “Flight”, published in “Pottery Jewels” Book (1975)

Joseph Lonewolf is certainly one of the most impactful potters from the 1970’s onward.  His creativity in designs and the realism of his sgraffito work has influenced numerous potters over the years.  Over the past 20 years, we have only had a couple of pieces come back to the gallery which were published in, “The Pottery Jewels of Joseph Lonewolf” book in 1976.  This is one of the seminal books on his pottery.  This piece is entitled, “Flight” and the photo of is a fascinating one in the book, where there was an attempt to photograph it “life size”.  Joseph wrote of this piece,

“The mule deer buck and doe are shown in the blow-up of this pot, in flight from an unfamiliar sound or scent that has reached them deep in the forest.  The traditional kilt design is shown on the back of the pot, actual size, on the top of the basket.  The deer provides many things worn in the winter dances along with the kilt.”

Technically, note the etching in the background area surrounding the two deer and how it accentuates the forms and polish.  this piece is in excellent condition with no chips, cracks, restoration or repair.  It signed on the bottom in the clay.  The amazing provenance on this piece is that this is the first time it has been on the market, as it was acquired from Joseph at the time of the release of the book and has been in one collection since then.   It is very unique opportunity to own a imporant piece of history by this exceptional and influential Pueblo artist!

$ 5,800.00
Haungooah, Art Cody & Martha –  Bowl with Quail, Lizard and Rabbit (1975)

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.

$ 675.00
Sale!
Naranjo, Paul  – Long Neck Jar with Dancers & Eagle (1987)

This is an exceptional jar by Paul Naranjo.  It is fully polished to a glassy surface.  Honestly, one of the toughest pieces to photograph!  However, the polish is amazing and the entire surface of the jar is fully polished!  There are two maidens in traditional dress and they are separated by an eagle head.  There is a water serpent in the background, which is a designs often used by Paul on the background of his pieces.  Along the neck and the base are kiva step designs, and there are plant patterns around the base as well.  Paul fired his pottery a dark, chocolate color, for which he was well known. His pieces can be seen in the “Beyond Traditions” book by Jerry Jacka.  The jar has unique color variations in the brown which further enhance the designs.  The jar is signed on the bottom in the clay.   It is in excellent condition with no chips, cracks, restoration or repair.  The jar also won a ribbon at the 1987 Gallup Ceremonials, which adds to its important provenance.

$ 1,100.00 $ 650.00
Tafoya, Margaret – Fully Polished Open Bowl (1950’s)

This is open bowl by Margaret Tafoya is from the 1950’s.  The bowl has high walls and it is fully polished on the inside and carved on the outside.  Traditionally potters would polish the inside of the bowls before firing. However, over time, this practice decreased as there was a great chance that it would crack in drying or polishing.  The added risk comes from putting all the wet slip on the inside of the bowl and hoping that it doesn’t cause cracks in the exterior.  However, the risk is often worth it as the polished interior of the bowl creates a striking appearance with the carved designs.  This bowl has a rain and cloud pattern around the outside.  It is deeply carved into the clay.  The bowl is signed on the bottom in the clay, “Margaret Tafoya”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,500.00
Da, Popovi-  Feather Plate (1965)

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

$ 4,400.00
Ebelacker, Richard – Water Jar with Carved Avanyu (1972)

Richard Ebelacker was the first grandson of Margaret Tafoya and a son of Virginia Ebelacker.  He was known for making large sized vessels, much like his mother and grandmother before him.  This is a striking jar which has a high round shoulder and a turned out neck. The jar is fully polished and carved with a water serpent (avanyu), encircling the shoulder of the jar.  The area behind the carved avanyu is tan while the mouth of the avanyu has been slipped with a red clay.  This large jar certainly reflects the varied flow of the carving in Richard’s designs.  The jar received a blue ribbon at the 1982 New Mexico State Fair.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 4,400.00
Blue Corn – Large Polychrome Water Jar with Feather Pattern

This is an exceptional large polychrome jar by Blue Corn.  Blue Corn began by making black-on-black pottery but it is her polychrome potter for which she is the most famous.  This tall water jar is fully polished tan and then it is painted.  The black is a black clay and the red are additional clays.  The shoulder of the jar has a feather pattern and the neck has alternating geometric patterns in each section.  The lines are perfectly painted and match the shape of the jar.  The intricately painted neck is unique in her design and not something we have often seen yet it emphasizes the elongated neck.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Blue Corn”.

$ 2,400.00
Haungooah, Art Cody – Bear in Raised Relief Bowl (1974)

This is an unusual miniature bowl by Art Cody Haungooah.  The back and sides are fully designed with a bear paw and cloud designs. The front has been deeply carved with a bear in relief.  He added additional for the body to give it more texture and dimension.   The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.  It is from 1974.

 

$ 175.00
Da, Tony – Gunmetal & Sienna Jar with Seed Design (1970-1)

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

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

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

Haungooah, Art Cody – Bowl with Insects, Turquoise and Lid

This is a very unusual lidded bowl by Art Cody Haungooah.  There are polished medallions on each side and the clay around them is carved away leaving the medallions raised. The medallion on one side has a moth and the other an ant.  They are each inset with two pieces of turquoise.  The surrounding matte area has been sanded down and works as a perfect contrast to the polished areas.  The lid is also fully polished.  It is strong complement to the polished medallions.  The bowl is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 900.00
Lonewolf, Joseph – Grizzly Cubs & Butterflies Seedpot (1984)

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.

$ 2,800.00
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