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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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Martinez, Maria – Gunmetal Bowl “Maria Poveka”, 1950’s

This is striking plainware bowl by Maria Martinez.  In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This round bowl is fully polished and fired to a near gunmetal appearance.  The gunmetal shine was achieved by the heat of the firing.  The bowl is signed in the clay, “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,900.00
Martinez, Maria  –  Jar with Rain and Plant Designs “Marie + Santana”, 1940’s

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

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

$ 1,800.00
Martinez, Maria – Jar with Avanyu (Maria Popovi 1069)

This is a short neck jar by Maria Martinez and her son, Popovi Da.  Maria made and polished the jar while it was painted by her son, Popovi Da  (1923-1971). The jar is highly polished and has the classic water serpent (avanyu) painted around the shoulder. This particular shape, with the round body and the short neck, is one which is easily one of Maria’s most famous forms.  The firing is nearly gunmetal in coloration with a very high shine.  The jar is signed on the bottom in the clay, “Maria Popovi 1069“. The signature indicates that it was made around in October 1969.  The jar is in very good condition with no chips, cracks, restoration or repair.

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

$ 4,400.00
Naranjo, Madeline – Carved Jar with Avanyu (1970’s)

Madeline Naranjo (b. 1916) was known for her deep carved pottery.  This jar has a round body and an elongated neck. The body of the jar is fully carved with a water serpent.  Around the neck is a cloud pattern.  The jar is very deeply carved with a lot of variation to the design around the piece.  The jar is signed on the bottom in the clay, “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.

 

$ 475.00
Medina, Sofia & Lois Medina – Four Color Stoarge Jar with Birds & Rainbows

Sofia Medina and her daughter Lois Medina were known for a traditional style of Zia pottery.  Each piece was coil built, painted with native clays and native fired.  This is jar is striking in design and a very classic Zia shape with the high shoulder and slight neck.  The jar has two large sections with birds and very complex double rainbow band.  Separating each of the rainbow bands are small cloud designs.  The bird is surrounded by complex rain and flower designs.  The opposite sides have large birds with a single rainbow band and flower patterns.  Note how the rainbow bands are stone polished areas!  There are equally complex variations of fine-line and hatchtwork patterns.  Did you know that Zia potters use volcanic basalt as their temper for the clay, which gives these pieces their stability but also weight.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the side, “Sofia & Lois Medina”.

$ 2,800.00
White, Elizabeth – Mauve Jar with Double Corn (1970’s)

Elizabeth White created distinctive pottery using the various colors of Hopi clay. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her classic pieces with two ears of corn.  The coloration of the clay is the distinctive and much sought after “mauve”.  The entire piece is stone polished to a high shine except for the two ears of corn which are unpolished matte.  The narrow shape is very much like the jars that her nephew Al Qoyawayma makes which he calls “wish pots”.  He tells the story that the name comes from Elizabeth as she said people would look at the pieces and say, “I wish I could have one”.  This jar is in excellent condition with no chips, cracks, restoration or repair.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available. It is a classic of her work and an important addition to any collection!

$ 1,200.00
White, Elizabeth – Large Red Jar with Bean Dance Figures (1970’s)

Elizabeth White created distinctive pottery using the various colors of Hopi clay. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her classic narrow jars with two ears of corn.  The coloration of the clay is the traditional red clay (well, reddish-orange), which is used in Hopi pottery.  The coloration is striking on this larger jar.   The entire piece is stone polished in a vertical manner and the figures are matte.  There are two figures, which are taken from an Awatovi mural design.  They are part of the winter “Bean Ceremony” when they grow bean sprouts in the kivas. The figures are pushed out from the inside of the jar, not applique on top of the surface.  The jar is in good condition and a few rough area in the matte.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available.  This is certainly one of the largest pieces we have had of her work in the gallery.  The last photo is one of Elizabeth White working on this piece! Definitely check out the work of her nephew, Al Qoyawayma for comparison and the evolution of this style!

$ 5,500.00
Cain, Mary – Bowl with Cloud and Lightning Design (1990’s)

Mary Cain was a daughter of Christina Naranjo and a granddaughter of SaraFina Tafoya.  She was known for her classic style Santa Clara pottery.  This bowl is carved with a cloud, lightning and wind pattern which encircles the piece.  There is always a fluidity to her designs as they ebb and flow around the piece.  The bowl is 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.

$ 300.00
Cain, Billy – Bowl with Bear Paws (1989)

Billy Cain was a son of noted potter Mary Cain.  He created traditional Santa Clara carved and polished pottery, but often with his own flare of shape or design.  This distinctive bowl is one of his smaller pieces from 1989.  It has two bear paws on one section. The neck has a deeply carved band which encircles the bowl.  The entire piece is polished, including the base.  The bowl is signed on the bottom in the clay, “Billy Cain”.

$ 225.00
Blue Corn – Polychrome Bowl with Corn and Star Patterns

This is a classic polychrome bowl 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 bowl is fully polished tan and painted with black and ochre-colored clays.  The design around the rim is a rain and cloud design.  ARound the body of the piece are squares which represent corn while they are separated by star designs.  It is signed on the bottom in the clay, “Blue Corn”.

$ 1,500.00
Lonewolf, Joseph – Incised Feathered Water Serpent Bowl (1971)

This is an exceptional and unique larger bowl by Joseph Lonewolf form 1971.   It is very highly polished and has the classic water serpent (avanyu) etched into the clay.  Note that it is the gray area which is etched and the polished area makes up the avanyu!  It still has a great polish so the design is difficult to see in the photos.  However, note that Joseph always used the feathered water serpent, which is different in style from the others used at Santa Clara Pueblo.  This bowl is also historically important relevant to the signature on the bottom, as it is actually before he began to number his pieces!  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed, “Jospeh Lonewolf”.

$ 3,000.00
Naha, Helen “Feather Woman” – Awatovi Star Design Bowl (1978)

This smaller bowl by Helen Naha, also known as “Feather Woman”, has her iconic Awatovi Star design.  Helen 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 bowl has the “Awatovi Star” pattern painted on the top and the bottom.  The bowl has a larger opening and the entire interior is also fully polished!  Around the shoulder is an eternity band.  The bowl was traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.  It was originally purchased in 1978.

$ 1,000.00
Naha, Sylvia – Large Bowl with Lizard and Shard Designs

This large bowl is an exceptionally intricate piece by Sylvia Naha.  She was a daughter of Helen “Featherwoman” Naha and a sister of Rainy and Burell Naha.  She was known for her distinctive pieces painted with intricate designs on a white polished clay surface.  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 bowl is a wide shape and half of the piece has a lizard and corn design.  The other side is a series of pottery “shard” with designs from her various pottery designs.  There are about 15 different designs including a bat wing, Awatovi star, lizard and turtle.  What is really amazing, however, is the amount of fine-line painting!  There are so many sections with small, fine lines and hatchwork patterns.  Those are so time involved to paint, but very dramatic in appearance!  The black on the painting is from Bee-Weed (a plant) and the red and other colors are natural clay slips.  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”.  It is certainly an extraordinary piece by his exceptional Hopi-Tewa potter!

$ 1,500.00
Gonzales, Rose – Red Carved Long Neck Jar

This carved jar is a classic vessel by San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career, she created a variety of styles including plainware, painted and carved pottery.  This jar is carved on the sides with lightning and rain patterns.  Rose was famous for her “cameo” style of carving with the use of negative space and rounded edges.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.

$ 600.00
Laate, Jennie – Large Jar with Deer and Rosettes (1970’s)

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This is one of the largest pieces of her pottery we have ever seen!  She usually made miniatures so something this large and complex is definitely unusual.  It is also striking in appearance.  The jar is large and round and just a slight neck.  The sides are painted with deer in their “houses” and separating them are large rosettes.  Around the neck are rainbird patterns, which are painted with fine lines.  All of these are design elements which are seen on classic Zuni vessels of the late 1800’s.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 1,000.00
Aguilar, Rosalie & Joe – Carved Red Jar with Rain Designs (1930’s)

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

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

$ 600.00
Roybal, Tonita – Bowl with Geometric Rain Designs (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This smaller jar has her classic sharp shoulder and sloping neck.  The neck has a geometric rain and cloud pattern.  Note the small design with the three rows of rain. This particular design is one which she often used on her pottery.  Sometimes it was attached to the other designs, sometimes simply floating on the polished surface.  The bowl is highly polished and fired to a great gunmetal coloration.  It is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.

 

 

 

 

 

 

$ 625.00
Lonewolf, Joseph – “Lone Wolf” Seedpot (2000)

This is extraordinary seedpot by Joseph Lonewolf is from 2000.  The piece is one from the period when he began to create exceptionally detailed and realistic animals on his pottery surfaces.  The seedpot is entitled, “Lone Wolf” and it has the full body of the wolf etched into the clay.  Joseph said of this piece,

“Positioned in such a manner, somewhat a side view, yet frontal, against a dark background, brightened only by the magenta tones of the setting sun, it is easy to recognize the wolf’s heavy frame and long limbs.  Since he stands in clumps of dry-colored grasses, we are unable to see his forefeet or his back feet. Meticulously designed, the wolf’s fur is moderately long, thick and varies in color shades of white, gray, brown and black.  The open winged butterfly is symbolic of beauty.  Sketched in a side view manner is a full body designed buck, a big game food source for the wolf.  It is depicted in the Mimbres form. In front of the buck is a multi-color toned design depicting with several feathers the symbol of strength, and a badger print, symbolic of strength and good fortune.”  Joseph Lonewolf

The detail on the head of the wolf is exceptional. It is not just the eyes, but fur and the various levels of carving into the clay.  It’s hard to capture in the photos but even the tongue of the wolf is perfectly designed.  On the back are two “yearly” medallions on this piece, which signify 2000 and are symbolic for his mother (Agapita, a daisy) and father (Camilio, a sunflower).  The two symbols are reflective of their names in Tewa.  An interesting note about his piece is that was included as the image on his business cards for the year.  The piece includes one of these business cards along with the typed card with the information on the piece.  It is one of the more complicated and ornate realistic animal seedpot we have had by Joseph.  The seedpot is signed on the bottom in the clay and it is in perfect condition with no chips, cracks, restoration or repair.  Needless to say, again, it is not just extraordinary but a great piece of history!

$ 4,400.00
White, Elizabeth – Red Clay Jar with Double Corn (1981)

Elizabeth White created distinctive pottery using the various colors of Hopi clay. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her classic narrow jars with two ears of corn.  The coloration of the clay is the traditional red clay (well, reddish-orange), which is used in Hopi pottery.  The coloration is striking on this larger jar.   The entire piece is stone polished to a high shine except for the two ears of corn which are unpolished matte.  The narrow shape is very much like the jars that her nephew Al Qoyawayma makes which he calls “wish pots”.  He tells the story that the name comes from Elizabeth as she said people would look at the pieces and say, “I wish I could have one”.  This jar is in excellent condition with no chips, cracks, restoration or repair.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available.  This jar was originally purchased in 1981.  It is a classic of her work and an important addition to any collection!

$ 1,800.00
Da, Tony – Red Bowl with Avanyu (1971)

This is a classic smaller red bowl by Tony Da.  He had a short career which spanned from 1967-82.  He helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike. This bowl was originally purchased in 1971.  It is fully polished a deep red and etched with the classic avanyu (water serpent).  Tony would etch the designs into the clay before the piece was fired so that there was a sharpness to the designs.  Note the precision of the horn and the clouds on this piece!   The avanyu is symbolic of the village being saved from a flood by the water serpent.  The bowl is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had, and continues to have, on Pueblo pottery.  The pottery of Tony Da remains an important addition to any collection!

$ 5,000.00
Martinez, Maria – Large Wide Plainware Bowl “Maria Poveka”, 1950’s

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

$ 2,200.00
Gonzales, Rose – Polished Black Jar (1968)

This is a distinctive plainware jar San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career, she created a variety of styles including plainware, painted and carved pottery.  This jar is fully polished and fired black. There is a slight gunmetal coloration to the surface. The jar won a second place ribbon at the 1968 Gallup Inter-Tribal Ceremonials.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.

$ 975.00
Martinez, Maria –  Bowl with Cloud and Lightning Designs (1920’s), “Marie”

This is a classic bowl by Maria Martinez from 1920-25.  It was made and polished by Maria Martinez and painted by her husband, Julian.  These early pieces are signed, “Marie”, although Julian was painting the designs.  It was not until around 1925 that they began to sign both names to the pottery.   This bowl has a slightly rounded shoulder and the design is painted in the area between the shoulder and the neck.  The pattern is a cloud and lightning design.  The bowl was highly fired to create a near gunmetal (metallic) appearance.  The gunmetal color achieved on these early pieces was from the heat of the firing.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Marie”.

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

$ 1,800.00
Martinez, Maria – Bowl with Wave Designs, “Marie + Julian” (1920’s)

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This bowl by Maria Martinez is very traditional piece of her early pottery.  It was made and stone polished by Maria and then painted by her husband, Julian Martinez (1897-1943).  The round shape of the bowl is one which Maria made throughout her career.  The entire surface is fully polished, including the bottom.  The design is a wave pattern with a series of lines encircling the piece.  It is simple but works perfectly on this piece to emphasize the form.  The bowl is fired a dark black coloration.  It is signed on the bottom in the clay, “Marie + Julian” on the bottom.  The bowl is in very good condition with no chips, cracks, restoration or repair.

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

$ 1,800.00
Martinez, Maria – Jar with Feather and Lightning Design “Marie + Julian” (1930’s)

This jar by Maria Martinez is a classic of her early pottery.  It was made and polished by Maria and then painted by her husband, Julian Martinez (1897-1943).  The jar is one of her iconic forms with a sharp shoulder and a sloping neck. The design is painted on the shoulder of the jar.  There is a feather pattern in two sections and a storm (lightning/rain) design on the other two.  The jar is highly polished and fired a deep black in coloration.  It is signed, “Marie + Julian” on the bottom.  The bowl is in very good condition with no chips, cracks, restoration or repair.

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

$ 2,000.00
Youngblood, Mela  – 22 Rib Melon Bowl (1977)

Mela Youngblood began making pottery in the late 1960’s and quickly achieved a distinctive style for her work.  Each piece of her work very highly polished and when carved the edges are distinctly rounded.  She was a daughter of noted potter Margaret Tafoya and the mother of Nancy Youngblood and Nathan Youngblood.  This bowl is one of her few melon bowls.  It is deeply carved with 22 ribs.  Note as well that the entire surface is fully polished!  There is an exceptional symmetry (as expected) to each of the ribs.  They are smaller at the rim and base and wider around the shoulder, emphasizing the form of the bowl itself.  The bowl is in excellent condition with no chips, cracks, restoration or repair.   It is signed on the bottom in the clay, “Mela Youngblood”.

$ 2,200.00
Tafoya, Camilio – Seedpot with Realistic Deer (1995)

This seedpot by Camilio Tafoya is very intricately designed.  It would seem that it most likely was made, polished and the designs were begun by Camilio and then the designs were finished by his son, Joseph Lonewolf.  While it is signed by Camilio, it would suggest that the piece was already polished.  However, there are indicators that it was finished by Joseph, as he finished several of the pieces which Camilio had in process before he passed.  The deer are all very intricately etched and designed than on any of the piece finished by Camilio from 1990-5.  There is is a large buck with antlers extending over the top of the seedpot. On the opposite side there is another deer with smaller antlers and two does.  The deer are very intricately designed and they are much closer in style to those of Joseph.  As well, there is the number on the bottom, which is precision-etched, and the last letters are JL, which are probably Joseph’s initials as the end of the numbering system. The numbering system used by Camilio was typically much shorter and a bit more stylistic in design.  Overall, the piece is in excellent condition with no chips, cracks, restoration or repair.

$ 1,500.00
Lonewolf, Joseph – Bowl with Grasshopper 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 etched with a single medallion. There is a Mimbres style grasshopper or cricket as the design.  Not the depth and precision of the matte area behind the insect!  There are rectangular green polished areas surrounding it, which represent the grass.  The use of the green clay slip in 1973 was quite new and a extraordinary addition to native clay colorations at the time.   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.

$ 1,800.00
Lonewolf, Joseph – Feathered Water Serpent Seedpot (1990’s)

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 the 1990’s.  It has the yearly symbol of a heart with a cross in it on the back.  On the front is the classic Feathered Water Serpent which was used by Joseph Lonewolf and his family.  Note the intricate detail in the head and the feathers.  There is an additional butterfly etched into the back of the piece.   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.

$ 1,250.00
Lonewolf, Joseph – Mini Seedpot with Flute Players (1986)

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 is a very small seedpot and yet it is very fully designed!  The seedpot has two Mimbres style flute players as the design.  They are surrounded by plant and rain designs. There is a butterfly on the opposite side.  The heart medallion is the yearly symbol for 1986.  There is an additional green clay slip used to highlight the designs.  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.

$ 1,200.00
Baca, Angela – Large Melon Bowl with 32 Ribs

This is one of the largest pieces we have had by Angela Baca.  She was famous throughout her career for her melon ribbed pottery.  The form is derived from the melon and squash grown in the area and so there is always an organic style to the shape.  This piece is round and has 32 ribs carved into the clay. The entire surface of the bowl is fully polished, including the space between each of the ribs!.  The bowl is signed on the bottom in the clay, “Angela Baca” and it is in very good condition with no chips, cracks, restoration or repair.

$ 1,375.00
Torivio, Dorothy – Wide Jar with Yucca Leaf Design

This is a classically shaped jar by Dorothy Torivio.  She was among the first to utilize and then refine the “op-art” style in her Acoma pottery. She took traditional 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 has a wide, sharp shoulder and a very tiny neck.  The design is a yucca leaf which extends from the neck to the shoulder and then to the base.  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.

$ 975.00
Medicine Flower, Grace & Camillio Tafoya – Red & Black Jar with Figures & Avanyu (1970’s)

This an unusual collaborative piece by Grace Medicine Flower and her father, Camilio Tafoya.  It is from the early 1970’s and it was fired “black-and-red”.  It is a distinctive firing technique where the piece is covered before the manure is put on to turn it black.  The jar was made by Camilio and polished by Grace. She would then etch the designs into the clay before it was fired.  This piece has a lightly etched avanyu on two sides.  Separating them are two red medallions.  One has a Mudhead Clown figure and the other a Rain Dancer.  There is a striking coloration of the red against the black.  It is signed on the bottom in the clay, “Grace Medicne Flower and Camilio Tafoya”.   The jar is in excellent with no chips,cracks, restoration or repair.

$ 900.00
Tafoya, Camilio –  Black & Red Jar with Feathers (1972)

This bowl by Camilio Tafoya is from 1972.  It is fully polished and the design around the shoulder is a stylized feather pattern.  The piece was then fired black-and-red.  This distinctive coloration is one that was only used by Camilio and his children Joseph Lonewolf and Grace Medicine Flower.  It was achieved during the firing, although nobody has been able to replicate the process.  Note the coloration and technique is different from the black-and-sienna colorations on pottery by artists such as Tony Da.  The contrast of the black and red is very striking on this piece.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

$ 350.00
Sunn, Mabel – Bowl with Cloud and Rain Designs (1970’s)

This is a classic bowl by Mabel Sunn from the 1970’s. The piece is made using a paddle-and-anvil technique and twice fired.  The black designs are derived from a mixture of mesquite sap and cactus spines.  Today, there are very few Maricopa artists making pottery.  This bowl is painted with a complex cloud and rain design around the shoulder.  It is also polished on the inside.  The bowl is signed on the bottom in the clay, ‘Mabel Sunn”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 250.00
Sunn, Mabel – Jar with Mountain Designs (1970’s)

This is a small jar by Mabel Sunn from the 1970’s. The piece is made using an paddle-and-anvil technique and twice fired.  The black designs are derived from a mixture of mesquite sap and cactus spines.  Today, there are very few Maricopa artists making pottery.  This jar has a mountain design on the sides and a patined rim.  The jar is signed on the bottom in the clay, ‘M. Sunn”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 100.00
Gutierrez, Margaret & Luther – Bowl with Avanyu (1973)

This is a classic polychrome bowl by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother,  would paint them.  This bowl is a classic round shape.  It is fully painted with a water serpent (avanyu), which encircles the piece.  Note the complexity of the design as the bowl is turned.  Luther not only used a variety of clay slips but also painted precision and intricacy.  The bowl is signed on the bottom, “Margaret / Luther”.  It was originally purchased in 1973 and it is in excellent condition with no chips, cracks, restoration or repair.

$ 1,100.00
Suina, Auerlia Montoya – Storyteller with 8 Children  (1974)

Aurelia Suina (1912-1997) was a daughter of Ioalido Montoya and Victoria Quintana.  She began making pottery in the 1960’s and is known for her storyteller and classic Cochiti pottery.  Her work can be found in the Peabody Museum at Harvard University and the Laboratory of Anthropology of the Museum of New Mexico.  While less prolific than many of the other potters of her time, the work is all traditionally built and painted with native clay slips and wild spinach (black). This storyteller was originally purchased in1974.  It is a traditional style of figure and there are eight children.  Each of the children is in a different position, giving the piece a charming appearance.  Note as well the painting of the squash blossom necklace and the belt.  The figure is signed on the bottom, “Auerlia Suina”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,500.00
Cordero, Helen – Grandfather Storyteller with 12 Kids

Helen Cordero is undoubtedly one of the great names in Cochiti pottery.  It was in 1964 that Cordero said she made her first storyteller.  According to her, “I made some more of my Storytellers with lots of children climbing on him to listen, then I took them up to the Santo Domingo Feast Day” and the rest is history.  Her pieces were all males, to honor her grandfather, whom she would hear telling children stories of Pueblo life and culture.  She received the New Mexico Governor’s award in 1982 and the NEA Heritage Fellowship in 1986.  This storyeller is one of her pieces from the 1970’s.  It is complex in terms of its painting and figurative work.  There are twelve children all around the figure. Each one is dressed differently and they are very interactive with one another.  Note the details on the larger figure, including the sash on the side and the squash blossom necklace!  The piece is signed  on the bottom, “Helen Cordero”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is not often that we see one of her storytellers with so many children and with such intricate designs.  Definitely a classic!

$ 9,800.00
Blue Corn – Polychrome Jar with Feather Pattern and Band Design

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

$ 800.00
Blue Corn – Polychrome Jar with Feather Pattern

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

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

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

$ 950.00
Nampeyo, Iris – Tan Bowl with Corn Relief Design

Iris Nampeyo was a daughter of Fannie Nampeyo and well known for her elegant asymmetrical vessels with corn as part of the design in relief.  Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan.  The surface of the jar is stone polished and the corn on the front is in applique relief.  The husk of the corn is sharp and the matte area extends around to the shoulder of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  There is a simplicity and elegance in her pottery.  Sadly, Iris passed away in September 2018, but her pottery remains a classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 800.00
Gachupin, Candelaria – Jar with Birds (1976)

Candelaria Gachupin was a granddaughter of noted potter Rosalea Toribio and the daughter of Maria Bridgett. She taught both her daughter Dora Tse-Pe and son-in-law Ralph Aragon to make pottery.  This jar was originally purchased in 1976.   Candelaria was known for her stylized birds, which have long legs and are a visual “signature” to her pottery.  This jar has three sections of birds with plants, separated by a polished red lightning band.  Around the neck is a could pattern.  We do not often see a lot of her pottery but there is certainly a striking appearance to her designs. This jar is signed on the side, “Candelaria Gachupin, Zia Pueblo”.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the side, “Sofia & Lois Medina”.

$ 450.00
Chino, Rose – Jar with 16 Heartline Deer (1971)

Rose Chino was a daughter of noted potter Marie Z. Chino. This jar is a classic Acoma shape with a high shoulder and short neck.  It is painted with two rows of heartline deer.  There are eight deer in each row.  They are painted with bee-weed (black) and the heartline is a red clay slip. The jar was traditionally fired.  It received a third prize at the 1971 Gallup Intertribal Ceremonials.  The jar is signed on the bottom, “Rose Chino”.  It is in very good condition with no chips, cracks, restoration or repair.  There are a few small areas of spalling, which is typical for pieces from this period.

$ 850.00
Naha, Helen “Feather Woman – Wide 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 wide shoulder and a slight neck.  It is a shape which Helen frequently used on her pottery. The sides are painted with a batwing design which extends down below the shoulder.  Helen would often make the mouth of the vessel large enough so she could get her hand in to polished the inside. The interior of this jar is fully polished.  The bottom has her hallmark “feather”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 975.00
Naha, Helen “Feather Woman – Bowl with Cloud Designs (1978)

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 bowl was originally purchased in 1978.  It is painted with a cloud pattern around the body of the piece.  Above the clouds and rain is a red clay slip and below are additional colors.  There is a separate band of “stippled” black, which adds another “color” to the bowl.  As with much of Helen’s pottery, the inside is fully polished.  She would try to make the mouth of the vessel large enough so she could get her hand inside to polished the inside.  The bottom has her hallmark “feather”.   It is in excellent condition with no chips, cracks, restoration or repair.

$ 625.00
Juan, Mary – Jar with Wind Designs (1960’s)

Mary Juan was a cousin of noted potter Ida Redbird. She was one of the original members of the 1938 Maricopa Pottery Cooperative. She was part of the early Revival Period artists from 1937-41. She continued to create pottery until the 1960’s. Mary Juan was known for the finely polished deep red slip, graceful shapes, and finely painted designs.  This jar has a wind motif painted around the sides.  There is her signature “wave” pattern around the neck and the jar has a slightly turned out neck. This piece is traditionally handcrafted from native clay with the paddle and anvil method, iron oxide red slip is decorated with black mesquite sap paint and pit fired.  This jar is signed on the bottom, “Mary Juan”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 250.00
Sunn, Mabel – Bowl with Indented Sides (1970’s)

This is a classic bowl by Mabel Sunn from the 1970’s. The piece is made using an paddle-and-anvil technique and twice fired.  The black designs are derived from a mixture of mesquite sap and cactus spines.  Today, there are very few Maricopa artists making pottery.  This bowl has 7 indentions on the sides.  There is a black sap painted sun separating the mountains or mesas. It is a wonderful combination of form and design.  The bowl is signed on the bottom in the clay, ‘M. Sunn”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 275.00
Redbird, Ida – Bowl with Indented Sides (1960’s)

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 has indented sides to create an undulating appearance.  There is a sun and cloud design on each of the four sides.    It is in good condition with no chips, cracks, restoration or repair.  It is signed, “Ida Redbird” on the bottom.

$ 350.00
Gutierrez, Helen – Red Bowl with Feather Design (1986)

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

$ 425.00
Lonewolf, Joseph – “Mimbres Cricket” Seedpot (1997)

This seedpot by Joseph Lonewolf is from 1997.  The piece is entitled, “Mimbres Cricket”.  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 from a side view is a cricket representative of the Mimbres Period – 10th to 14th centuries.  The cricket – an insect related to the locust and grasshopper, but usually having long antennae – appears to be leaping in mid-air.  Beneath the Mimbres cricket is highly polished red slipwork (Mother Earth) which encompasses the extreme front, partial sides, back side and a portion of the top.”

The butterfly is symbolic of beauty and the 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.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,500.00
Lonewolf, Joseph – “Anasazi Potter & Butterflies” Seedpot

This seedpot by Joseph Lonewolf is from around 2000.  The piece is one of his few black fired pieces.  It is fully eteched with a potter working on painting a piece of pottery.  They are surrounded by several other pieces of finished pottery.  Above the figure are butterflies.  Each butterfly is detailed and has various clay-colored slips.  There is a small butterfly etched into the black along with the yearly symbol.  It is a more complex design, both in the figure and as well as the colors.  It is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,800.00
Tafoya, Camilio – Mini Seedpot Eagle Feather Pattern (1975)

This miniature seedpot by Camilio Tafoya is from 1975. It is etched with a feather pattern around the neck. 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.

$ 200.00
Tafoya, Camilio – Seedpot with Trout, Otter & Skunk (1995)

This seedpot by Camilio Tafoya is from 1995. It is the last series of pieces he made.  It was fully polished and etched with an otter, trout, and skunk.  There is a simplicity and playfulness to the designs.  The various colors are derived from natural clay slips.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

$ 500.00
Vigil, Albert & Josephine – Large Jar with Avanyu (1960’s)

Albert and Josephine Vigil worked together on their pottery. Albert Vigil (1927-2009) was the son of painter Romando Vigil, one of the members of the San Ildefonso School of watercolor artists.  He as also a nephew of Maria Martinez. His wife was Josephine Cordova Vigil (1927-2001) from Taos Pueblo. She moved to San Ildefonso when she married Albert. Josephine learned pottery making by watching her aunts-in-law Maria Martinez and Clara Montoya. Maria taught her how to shape the clay and Clara taught her how to polish.  They began making pottery in 1945.  This is a larger piece of their pottery with a wide shoulder and a sloping neck.  The jar is painted with a water serpent which encircles the piece.  It is a complex design and note the clouds around the rim of the bowl.  The bottom of the bowl is also painted with a feather pattern.  It is signed on the bottom in the clay, “Albert + Josephine”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 975.00
Tafoya, Margaret – Fully Polished Red and Tan Open Bowl (1980’s)

This is open bowl by Margaret Tafoya is from the 1980’s.  The bowl has high walls and it is fully polished on the inside and carved on the outside.  This is one of the rarest styles of Margaret’s pottery.  The bowl itself has a lower round shoulder and a slightly turned out rim.  What makes it so rare is that she polished the outside red and the inside tan. The tan is created with water, so it is always difficult to polish and create a shine.  Margaret revived this red and tan style in the late 1960’s when she remembered how it was done at Ohkay Owinghe (San Juan Pueblo) from her youth. Today, there are only a few potters who are able to polish tan with such a high shine.  For Margaret, she did very few red and tan pieces, and they are always on very traditional forms.  Traditionally potters would polish the inside of the bowls before firing so that they would be usable.  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.  It is signed on the bottom in the clay, “Margaret Tafoya”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 4,500.00
Tafoya, Margaret – Small Storage Jar with Bear Paws (1970’s)

This is a small but perfect version of Margaret Tafoya’s famous storage jars.  The jar is from the 1970’s and it has the round, globular form which she always said was the most difficult to make.  This jar is round and has a short neck.  The jar has four bear paws impressed in the clay and the entire surface is fully polished.  The bear paw design tells the story of how a bear led the Pueblo people to water during a drought.  Both the storage jar and the bear paw have become iconic to the work of Margaret Tafoya.  This jar is highly polished and fired a deep black.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Tafoya”.

 

$ 3,300.00
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.

$ 1,200.00
Torivio, Dorothy – Tall Jar with Butterfly Designs

This is a distinctive shape jar by Acoma potter 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.  This shape creates a large surface area for the butterfly designs.  The neck is painted the traditional red coloration, while the remainder is black on white.  The jar captures her “op-art” style with increasing and diminishing sizes of butterfly designs.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 2,500.00
Romero, Teresita – Jar with Lightning and Cloud Designs (1960’s)

Teresita Romero is one of the great names in the revival of Cochiti pottery in the 1950-60 era.  She was the grandmother or noted potter Diego Romero and painter Mateo Romero.  Throughout her career she was known for her large vessels and use of traditional iconography in her work.  This jar is a complex piece of her pottery.  The jar has a round body and a slightly turned out neck.  The jar is painted with two bands of designs.  The top band is a cloud motif and the bottom is a lightning and water design.   The black areas are painted with wild spinach and the red with clay slips.  The red clay she used was distinctive for her pottery and had an orangish-red coloration.  The jar is signed on the bottom “Teresita Romero”.   The jar is in excellent condition with no chips, cracks, restoration or repair.

$ 775.00
Naranjo, Christina – 13″ Tall Jar with Carved Avanyu (1970’s)

Christina Naranjo was a daughter of SaraFina Tafoya and a sister of Margaret Tafoya and Camilio Tafoya.  She was known for her classic style carved Santa Clara pottery.  This is definitely the largest piece of her pottery we have had in the gallery.  It is a tall water jar with a long neck.  Around the body of the piece, it is fully carved with a water serpent (avanyu), as the design.  The avanyu encircles the jar in a band of design but note the exceptional complexity of the imagery.  The area clouds and rain and lightning in the pattern and they utilize the normal band but also the negative space.  The long neck is also fully polished.  The style of her carving is certainly significantly different than that of her sister, Margaret Tafoya.  The jar is signed on the bottom in the clay, “Christina Naranjo”.  It is in very good condition with no chips, cracks, restoration or repair.  Christina has a wonderful legacy in the work of her daughters Mary Cain and Teresita Naranjo, as well as her great-granddaughters Tammy Garcia and Autumn Borts.

$ 2,800.00
Shupla, Helen – Sienna Melon Jar with 15 Ribs (1980’s)

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.

$ 3,800.00
Da, Tony – Turtle with Bear Lid (1975-6)

Tony Da had a short career which spanned from 1967-82.  He helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.   While Tony made turtle shapes for his figurative pottery, he only made only a few turtles with lids.  This turtle is one of his with a fully polished bear lid.  The body of the turtle is fully polished and etched with a water serpent.  For the inside of the turtle when the lid is removed, there is a silver inset.  This was meant to encompass the open space created when he made the round body.  This turtle is signed on the foot in the clay, “DA”.   It is in very good condition with no chips, cracks, restoration or repair.

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

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

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

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

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

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

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

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

$ 600.00
Blue Corn – Polychrome Carved Bowl with Avanyu

This small bowl is deeply carved 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 bowl is carved with an avanyu encircling the piece.  The bowl is fully polished a white coloration and then painted with a black mineral slip.  The background is a slipped with a brown clay.  It was traditionally fired.  It is not often we see her carved work on such a small piece in various color.  It is signed on the bottom in the clay, “Blue Corn”.  The bowl is in good condition with no chips, cracks, restoration or repair. “.

$ 600.00
Martinez, Maria – Gunmetal Short Neck Jar “Maria Poveka”, 1950’s

In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This jar is striking in both shape and polish.  It has a wide shoulder with a sharp ridge and a short neck.  It is a form which is readily recognizable as her style.  The jar is fully polished and fired to a gunmetal appearance. The jar was probably fired by her son, Popovi, as the gunmetal encompasses nearly the entire surface.  It is signed on the bottom in the clay,  “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  The jar is in excellent condition with no chips, cracks, restoration or repair.

https://kinggalleries.com/maria-martinez-signatures/

 

$ 4,800.00
Da, Tony – Gunmetal Jar with Avanyu & Lid (1969)

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

Martinez, Maria   – Gunmetal Fired Bowl “Maria Popovi 669”

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

$ 2,400.00
Martinez, Maria – Water Jar with Gourd Indentions (1920’s)

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

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

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

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

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

$ 1,800.00
Roybal, Tonita – Gunmetal Jar with Plant Designs (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This smaller jar has her classic sharp shoulder.  The neck has a painted plant design which encircles the piece.  The jar is highly polished and fired to a great gunmetal coloration.  It is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.  A  note on the provenance: The small sticker on the bottom denotes that it was from the collection of Dick Howard, as that was his early numbering system.

 

 

 

 

 

 

$ 600.00
Martinez, Maria – Large Bowl with Feather Pattern (1920’s), “Marie”

It is not often that we come across a large bowl by Maria Martinez in such great condition.  This bowl is from 1920-25 and it was made and polished by Maria Martinez and painted by her husband, Julian.  These early pieces are signed, “Marie”, although Julian was painting the designs.  It was not until around 1925 that they began to sign both names to the pottery.   This bowl has a wide mouth and the painting is on the side around the shoulder.  The design is a very early style of the eagle feather pattern. Note at the top of the feather, the rectangular black matte area, which is in the center of the feather.  As time progress, that moved to one side so that it was easier to paint, as it took more time to paint it in the center of the feather.  However, the result is always visually striking with the older style. This bowl is highly polished and fired with near-gunmetal areas on the surface. The gunmetal color achieved on these early pieces was from the heat of the firing.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Marie”.

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

 

$ 8,500.00
Martinez, Maria – Gunmetal Plainware Bowl “Maria Poveka”, 1950’s

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

$ 2,400.00
Trammel, Jennie –  Red & Tan Canteen with Bear Paw & Avanyu (1980’s)

This is a very unusual canteen by Jennie Trammel.  Over the years we have had several of her canteens which were made in this same style with the flat base and designs on both sides.  This canteen has a carved bear paw on one side.  The unusual part of this canteen is the opposite side, which has carved avanyu with a center medallion in tan.  The carving around the avanyu is very deep, as are the bands around the bear paw.  I looked back and in over 20 years, I’ve never had a piece by her with tan polished designs.  The red is a clay slip while the tan is achieved by using water to create the coloration of the clay.   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 canteen is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Jennie Trammel” in the clay on bottom.   Definitely one of her classics!

$ 3,400.00
Tafoya, Shirley – Bowl with Carved Avanyu (1980)

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!

$ 1,000.00
Trammel, Jennie –  Tall Jar with Sun and Cloud Design (1980’s)

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!

$ 4,000.00
Tafoya, Margaret & Shirley Tafoya – Bowl with Kiva Step Design (BOF . 113)

Shirley Tafoya was the youngest daughter of Margaret Tafoya. They each created distinctive styles of carved pottery.  This is one of the only pieces Margaret made with her daughter, Shirley.  Shirley told me when I was writing “Born of Fire” that Margaret had made the bowl and she asked Shirley to carve a kiva step design into the clay.  Shirley then polished the bowl.  The bowl is highly polished and traditionally fired.  The kiva steps were a significant choice:

“The kiva step pattern is a classic design see on much of Margaret Tafoya’s pottery. That particular design has three steps, representing the kiva where religious ceremonies take place on the Pueblo. From the kitchen window of Margaret’s house, their clan kiva could also be seen while they worked.  Again, the tradition of form and design, of passing on knowledge to the next generation, were all a daily presence in Margaret’s pottery and life”.  Born of Fire, p. 100

This bowl is from the 1980’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya, Margaret Tafoya”.  It is an amazing piece of history, culture and Pueblo tradition!  The last photos are one from the book, Born of Fire along with a photo of Margaret and Shirley Tafoya.

$ 3,400.00
Tafoya, Margaret – Wide Jar with Cloud and Step Designs (1970’s) (BOF p. 107)

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!

“She [Margaret Tafoya] made water jars sitting outside the adobe house, and they would never crack on her.  There’s a rainbow band on the shoulder. She would sit on the floor with her legs straight out and make the pots that way. Today we stand up and make our pots.”  LuAnn Tafoya and Toni Roller, Spoken Through Clay

$ 8,800.00
Naranjo, Christina & Teresita Naranjo – Jar with Carved Avanyu (1960’s))

This is a striking but unusual collaborative piece by Christina Naranjo and her daughter, Teresita Naranjo.  The jar was made by Christina and is one of her classic round shapes with the slight neck.  It was carved by Teresita with a very deep style of carving.  The jar has a water serpent (avanyu) encircling the piece. Note that there is Teresita’s signature style of negative space carving with the clouds descending from the rim.  The carving on the horn of the avanyu is especially deep, crips and very thin!  The jar is in good condition with no chips, cracks, restoration or repair. There are some minor scratches on the surface.  It is signed on the bottom in the clay, “Teresita + Christina”.  It is interesting that in over 20 years, I have had several pieces which were signed by both Christina and Mary Cain (another daughter) but this is the first one I have had by Christina and Teresita.  It’s nice to see in a collaborative piece that their individuality in shape (Christina) and carving (Terestia) are so distinctive.  Christina Naranjo was a sister of Margaret Tafoya and Camilio Tafoya, as well as the matriarch of the family of potters including Teresita Naranjo and Tammy Garcia.

$ 1,200.00
Garcia, Sarah – Bowl with Lightning Designs (1970’s)

Sarah Garcia (1928-2015) was born at Laguna Pueblo to Maria Trujillo.  However, she spent her adult life at Acoma Pueblo.  She, along with Jessie Garcia, Lucy M. Lewis, and Marie Z. Chino, were largely responsible for the revival of Anasazi and Tularosa designs on contemporary Acoma vessels.  Her daughter Goldie Hayah continues making pottery.  This is a classic style Acoma jar with very tightly painted designs.  There are lightning and rain patterns encompassing the surface of the bowl. The bowl is signed on the bottom, “Sarah Garcia”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 600.00
Loloma, Charles -Jar with Corn Maidens (1950’s)

Charles Loloma is a name synonymous with innovative Hopi jewelry. He began his jewelry career with a brief period of time also making pottery in the 1950’s.  The pieces were made form earthenware and were painted and glazed.  By the 1960’s his jewelry was already achieving some fame and he discontinued making pottery.  His clay pieces are relatively rare but fascinating in terms of form, design and glaze. In many ways they mirror the innovative style of his jewelry relative to the other work being created at Hopi at the same time.  This tall jar is fully designed with corn maiden motifs.  They are etched into the clay.  The surface is matte but the rim is glazed.  This is certainly an exceptional piece of his pottery! It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Loloma”.

$ 1,800.00
Lewis, Lucy – Bowl with Heartline Deer (1980’s)

Lucy Lewis is one of the great Matriarch potters of the past century. This bowl is coil built and painted using bee-weed, a plant.  The design consists of three heartline deer.  This imagery is a classic to both Acoma and Zuni pottery, with the heartline signifying the center or “heart” of the animal.  This bowl is thin walled and delicately painted.  It was traditionally fired so the white has much more of a pearlescent coloration, which creates added depth.  In the 1980’s the surfaces of her pieces were more highly polished, giving them a smoother feel.  The bowl is signed on the bottom, “Lucy M. Lewis”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,500.00
Navasie, Joy “Frogwoman” – Water Jar with Hopi Birds (1980’s)

This water jar by Joy “Frog Woman” Navasie is a distinctive shape.  It is a more classic water jar shape with the round shoulder, elongated neck and turned out rim. The jar is fully polished on the inside and outside.  It is slipped with the white clay and then painted with natural clay slips (the red is a deeper red clay she began to use in the 1980’s) and bee-weed (black).   It’s nice to see this period of her work painted with such precision to the lines!  The design is interesting, as there are two consecutive panels with birds.  The other two panels are painted with a bird wing design and a series of rain and cloud motifs.  The neck of the jar is also painted with a band of cloud and rain designs.  Interestingly, the delineation of the panels on the neck are in the center of the panels below!  Joy was always masterful with both the precision of her painting but also the geometry of her designs and the form.  The jar was traditionally fired so there are some very slight variations in the coloration but primarily the white has the classic pearlescent depth of color.  The jar is signed on the bottom with her Frog Hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  

$ 1,800.00
Navasie, Joy “Frogwoman” – Jar with Birds (1980’s)

This smaller jar by Joy “Frog Woman” Navasie is one of her classic shapes.  The jar has straight sides and it is polished on the inside and the outside.  The jar is slipped with the white clay and then painted with natural clay slips and bee-weed (black).   The sides of the jar are very tightly painted in four panels.  It’s nice to see a smaller piece with such precision to the lines!  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.  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 excellent condition with no chips, cracks, restoration or repair.  

$ 1,400.00
Tapia, Tom – Bowl with Katsina and Sun Medallions

This is a larger bowl by Tom Tapia.  It is highly polished and designed with four medallions.  One is a Sun, while the others are different katsina figures.  Separating the medallions are kivas with ladders.  Around the base is another katsina figure which encircles the piece and has feather and rain designs.  The bowl was fired black and then the reddish clay coloration is added after the firing.  It is this color combination for which Tom achieved recognition.  The bowl is signed, “Tom Tapia”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 600.00
Medina, Sofia & Lois Medina – Jar with Hummingbirds & Clouds

Sofia Medina and her daughter Lois Medina were known for traditional style of Zia pottery.  Each piece was coil built, painted with native clays and native fired.  This is jar is striking in design and a very classic Zia shape with the high shoulder and slight neck.  The jar has an intricate cloud and rain design around the neck.  Around the side of the jar it is very intricately painted with a stylized hummginbird, flower and plant patterns.  This is an unusual bird style for them with the intricately painted wings of the hummingbirds, which are then slipped with clay to create the coloration.  Note as well the use of the hatchwork designs which are very tightly painted.  Did you know that Zia potters use volcanic basalt as their temper for the clay, which gives these pieces their stability but also weight.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the side, “Sofia & Lois Medina”.

$ 900.00
Tafoya, Margaret – Large Rainbow Ridge Water Jar with Bear Paws (1960’s), BOF p. 78

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

$ 24,000.00
Tafoya, Margaret – Large Wedding Vase with Avanyu (1950’s)

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.

$ 14,500.00
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.

$ 2,200.00
Da, Tony – Red Jar with Avanyu (1972-3)

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

$ 9,800.00
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.

$ 1,350.00
Tafoya, Margaret – Storage Jar with Bear Paws (1970’s), BOF p. 103

This is a stunning version of Margaret Tafoya’s famous storage jars.  The jar is from the 1970’s and her distinctive storage jar form has a high, round shoulder and this one has a bit of an extended neck. The extended neck is certainly reminiscent of the storage jar shapes of her mother, Sarafina Tafoya.  Margaret always said that making them very round in shape was more difficult than making them narrower.  The entire piece is the fully polished after the bear paws are impressed. The bear paw design tells the story of how a bear led the Pueblo people to water during a drought.  Both the storage jar and the bear paw have become iconic to the work of Margaret Tafoya.  This jar is highly polished and fired a deep black.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Margaret Tafoya”.  The jar is featured in the book, Born of Fire, on p. 103.  Definitely a piece of history!

 

$ 24,000.00
Youngblood, Mela  – Tall Water Jar with Carved Avanyu (1972) with Ribbon

This is one of the largest pieces we have seen by Mela Youngblood.  She began making pottery in the late 1960’s and quickly achieved a distinctive style for her work.  Each piece of her work very highly polished and when carved the edges are distinctly rounded.  This jar has a carved avanyu encircling the piece. Mela’s carving is distinctive with rounded edges to her carving.  The avanyu here is deeply carved and the entire jar is fully polished.  It is a stunning piece not just for the size, but also for the polishing and carving.  The jar won a blue ribbon at the 1972 Gallup Intertribal Ceremonials.  Mela’s name is on the ribbon and it is on the last two photos.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Mela Youngblood”.  It is certainly a rarity with great provenance and an important piece of Tafoya family history!

$ 5,500.00
Tafoya, Margaret & Mela Youngblood – Weddding Vase (1976)

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”

$ 2,400.00
Tafoya, Margaret – Tall Double Shoulder Water Jar (1960’s)

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!

“She [Margaret Tafoya] made water jars sitting outside the adobe house, and they would never crack on her.  There’s a rainbow band on the shoulder. She would sit on the floor with her legs straight out and make the pots that way. Today we stand up and make our pots.”  LuAnn Tafoya and Toni Roller, Spoken Through Clay

$ 14,500.00
Youngblood, Mela  – Kiva Bowl (1970’s)

Mela Youngblood began making pottery in the late 1960’s and quickly achieved a distinctive style for her work.  Each piece of her work very highly polished and when carved the edges are distinctly rounded.  This bowl is a very classic style of Kiva Bowl.  This bowl is fully polished on the inside and outside. The bowl has the “kiva” three-step form on the sides.  The holes in the kiva step areas were traditionally included so that eagle feathers could be placed in them. Mela made few of these during her career. The bowl is in excellent condition with no chips, cracks, restoration or repair.  The highly stone polished surface is striking!  It is signed on the bottom in the clay.

$ 1,500.00
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