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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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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
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
Aguilar, Rosalie -Bowl with  Cloud and Rain Designs

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

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

$ 475.00
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
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
Tafoya, Camilio – Large Carved Bowl Feather Design (1960’s)

This is is a large and classic bowl by Camilio “Sunflower” Tafoya.  He was the father of Grace Medicine Flower and Joseph Lonewolf and the brother of Margaret Tafoya.  While he is known for his miniatures this one of his larger carved bowls from the 1960’s.  The bowl is fully polished and carved with a feather pattern.  The spectacular part of this bowl is the coloration from the firing. It ranges from dark black to areas with brown and even a section that is almost silver in appearance. That coloration is very reminiscent of the firings by his mother, Sara Fina Tafoya.  The brown seems to make it’s own designs as it flows with the black and it certainly creates a much stronger and more fascinating bowl.  It is not often we see his larger carved vessels and rarely with such a great polish and surface.  The piece is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  There are some light surface scratches.  It is signed on the bottom.

$ 1,000.00
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.

$ 175.00
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
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.

$ 700.00
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
Da, Tony – Gunmetal Jar with Avanyu & Lid (1969)

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

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

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

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

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

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

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

$ 1,800.00
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)

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

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

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

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

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

$ 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
Aguilar, Rosalie & Joe – Plate with Avanyu Designs (1920’s)

Rosalie and Joe Aguilar created some exceptional pottery during brief career working together.  It is often their plates which are the most visually striking and complex of their work.  This plate is a complicated and fascinating design. There are two avanyu heads on either side where the circle is the eye and each has an elongated tongue. They are connected with a water design and the step pattern is the mountain. The “x” design in the center is the turkey track.  The fineline checkerboard areas area exceptionally well painted.  The piece has a very modern appearance with the placement of the imagery yet it is one from the 1920’s.  This plate is in very good condition with no chips, cracks, restoration or  repair.  There are a few light surface scratches.  It is signed on the back, “Rosalie + Joe”.

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

$ 1,400.00
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
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
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
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
Tafoya, Margaret – Red on Red Bowl with Cloud Designs (1960’s)

This red bowl by Margaret Tafoya is fully polished on the inside and outside. The bowl is fired red and the cloud design around the rim  is also painted in a matte red clay.  The design is outlined with a white clay.  This is a style which Margaret began in the 1940’s and continued through the 1960’s.  The bowl is signed on the bottom in the clay “Margaret Tafoya”.  It is in very good condition with no chips, cracks, restoration or repair.  There is one small ding under one of the cloud patterns.  Note as well the color variation as the bowl is turned.  This is the result of the traditional firing.

$ 2,800.00
Ebelacker, Virginia – Jar with Carved Mountain Designs (1970’s)

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

$ 1,500.00
Lewis, Lucy – Jar with Double Star Pattern (1970’s)

Lucy Lewis is one of the great Matriarch potters of the 1900’s.  She was an important revivalist of Acoma pottery throughout her career. This jar is coil built and painted with a fine-line star pattern. There are two different star patterns on the bowl, one with four points and one with eight points.  Lucy would paint her pieces with bee-weed for the black and each piece was traditionally fired outdoors.  This bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Lucy M. Lewis”.

$ 775.00
Naha, Helen “Feather Woman” – Large Awatovi Star Design Jar

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

$ 2,800.00
Medina, Sofia & Lois Medina – Four Color Jar with Deer & Birds

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 exception in the form and the painting.  The jar is painted on two sections with a rainbow design and below the rainbow is a deer. The rainbow and the deer are polished with two different colored clays.  Note the leaves over the back of the deer and there are two different colors of clay in each leaf!  The area around the deer has thinly painted lines.  Separating the deer are two sections of large birds.  Each bird is surrounded by plant designs along with cloud patterns. Did you know that Zia potters use 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”.  Not just a classic piece of their pottery, but outstanding in size, design and color as well!

$ 2,200.00
Adams, Sadie – Jar with Cloud and Rain Designs

This is a small jar by Sadie Adams. It is fully polished on the inside and outside. The design is a classic Sikyatki inspired rain and cloud pattern.  It is painted with bee-weed  (black) and two sections of polished red.  The jar is signed on the bottom with her hallmark flower.  It is in good condition with no chips, cracks, restoration or repair.  There is some fugitive black areas.

$ 200.00
Torivio, Dorothy -Long Neck Jar with Butterfly Design

This is a classic long neck 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 classic Acoma patterns and then repeated them on a vessel, ranging the size from small to large and then small again, in accordance with the shape of the vessel.  The shape of the jar is one which Dorothy created to emphasize her painted designs.  The long neck has a butterfly pattern which is repeated in smaller and then larger sizes.  The precision and tight painting on the neck is exceptional!  The jar is signed on the bottom, “Dorothy Torivio” and it is in excellent condition with no chips, cracks, restoration or repair.

$ 1,650.00
Gutierrez, Lela & Luther – Polychrome Thunderbird Open Bowl (1956-66)

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

$ 600.00
Gonzales, Rose – Red Canteen with Ribbon (1965)

This canteen is a classic piece by San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery.  This canteen is her classic shape for this form.  It is fully polished red with no design.  It still has the original leather strap and wood stopper!  The canteen won a second place at the 1965 Gallup Inter-Tribal Ceremonials.  The piece is signed on the back in the clay, “Rose”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
Gonzales, Rose – Wide Bowl with Rain and Cloud Designs

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery.  This wide bowl is deeply carved with her classic style of rounded edge carving.  The design is a series of cloud and rain patterns which flow through the negative space of the shoulder of the bowl.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rose” on the bottom in the clay.

$ 800.00
Nampeyo, Priscilla Namingha – Migration Design Jar (1970’s)

This is an exceptional jar by Priscialla Namingha Nampeyo.  She was a great-granddaughter of Nampeyo of Hano and granddaughter of Annie Healing,  She was also a sister of Dextra Quotskuyva Nampeyo. Priscilla was the matriarch of a family of renown potters, including Rachel, Bonnie, Nyla and Jean Sahmie.  Priscilla began making pottery when she was only seven years old, under the guidance of Nampeyo of Hano. This jar is thin walled and painted with the classic migration pattern.  It is one of those pieces that captures the essence of her pottery skill with very thin lines and a design which matches the shape.  Priscilla was known for her traditional work and this jar is simply one of her best.  It was traditionally fired and so it has blushes across the surface.  It is signed on the bottom “Priscilla Namingha Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 950.00
Tafoya, Camilio – “Wild Turkeys” Seedpot (1989)

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

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

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

$ 500.00
Sanchez, Desideria – Jar with Feather and Rain Motifs (1960’s)

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This jar is fully polished and painted with a feather and storm pattern.  There are two sections of feather separated by two sections of the rain and lightning designs.  This is a later jar and beautifully painted!  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 650.00
Lonewolf, Joseph – “Standing Fawn & Butterflies” Seedpot (1989)

This seedpot by Joseph Lonewolf is from 1989.  The piece is coil built and stone polished. The design is etched into the clay.  There is a single standing fawn on one side surrounded by a blue clay slip.  Surrounding the fawn are 20 small butterflies also highlighted in blue. On the back is a doe and her fawn lightly etched into the clay. They are surrounded by more very tiny etched butterflies! Near the base is the 1989 yearly symbol, an ankh, an ancient Egyptian symbol of life.  Each year Joseph would create a new “yearly symbol” and use it to “date” his pieces for that year.  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.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 4,200.00
Tafoya, Agapita – Jar with Carved Cloud and Feather Designs (1950’s)

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

$ 350.00
Dunlap, Carmelita – Wide Shoulder Jar with Rain Patterns (1979)

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

$ 800.00
Tafoya, Margaret – Red Bowl with Clouds over the Mesa Design (1980’s)

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

$ 2,500.00
Lonewolf, Joseph – Grizzly Cubs & Butterflies Seedpot (1984)

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is from 1984.  It has two grizzly bear cubs, each etched into the clay in great detail.  Each of the cubs is entranced with the butterflies.  What is so exceptional on this piece is not just the bears and the interaction with the butterflies, but the filigree style etching work surrounding them.  The plants and the feather patterns flow around the piece in a delicate stylistic manner.  It’s always difficult with his work to imagine that Joseph etched the designs into the clay!  There is an additional white clay slip used along with a red clay slip.   The back of the piece has a medallion with a rainbow, which is the yearly symbol for 1984.  The precision of the designs and the shine of the polished surface create a perfect balance.  This piece is in perfect condition with no chips, cracks, restoration or repair.

$ 2,800.00
Naha, Helen “Feather Woman – Water Jar with Bat Wing Design (1970’s)

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

$ 1,800.00
Tahbo, Dianna – Jar with Bird Tail Designs (2001)

Diana Tahbo was known for her tightly painted pottery and especially her beautiful miniatures.  This tall jar is vertically polished and then painted.  The design has bird tails in two sections and bird wings in two others.  The jar was traditionally fired, which created the blushes on the surface.  The interesting thing about when she vertically polished her pottery (as well as when Mark did the same thing) is that the lines of the polishing are visible after the firing.  It adds one more layer of depth to the piece.  The jar is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 575.00
Martinez, Santana & Adam – Plate with Seed Designs (1970’s)

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

$ 500.00
Gonzales, Juanita – Large Jar with Avanyu (1930’s)

This is a classic shaped jar by Juanita and Wo-Peen Gonzales.  The jar is deeply carved with a water serpent encircling the piece. It is carved in the cameo style which Juanita learned from Rose Gonzales.  There are cloud designs extending down from the neck and the horn of the avanyu is stylized.  The jar is highly polished and it is in very good condition with no chips, cracks, restoration or repair.    The bowl is signed on the bottom in the clay, “Juanita”.   It is great to find one of their pieces in such wonderful condition!

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

$ 800.00
Chino, Rose – Jar with Birds (1980’s)

Rose Chino was a daughter of noted potter Marie Z. Chino. This jar is a more classic style of shape with the high shoulder.  It is painted with four birds (maybe quail) encircling the piece.  They are painted with bee-weed and the jar was traditionally fired.  It is signed on the bottom in the clay, “Rose Chino”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 400.00
Nampeyo, Nellie – Wide Bowl with Eagle Tail Designs

Nellie Nampeyo Douma was the second daughter of Nampeyo of Hano and a sister of Fannie Nampeyo and Annie Nampeyo.  This small bowl is coil built and painted with bee-weed for the black.  The design is an eagle tail design which has a very tightly painted appearance.  The design is repeated four times around the bowl.  It is traditionally fired with some blushes on the surface.  It is signed on the bottom, “Nellie Nampeyo”.  It is in good condition with no cracks, restoration or repair. There is a small inclusion on the side, which appears to be pre-firing.

$ 400.00
Garcia, Tina – Kiva Bowl

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

$ 900.00
Shupla, Helen – Bowl with Carved Avanyu (1970’s)

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

$ 400.00
Martinez, Maria – Small “Fish” Plate (Maria + Popovi,1956-9)

This is a classic black plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and is one of his few pieces which has an animal motif.  This plate has a fish as the central design.  Fish were among the most common animal designs used by Popovi on his plates.  Popovi Da was an accomplished painter in the San Ildefonso two-dimensional style and this plate captures that style of his art.  The fish is beautifully painted to capture a sense of motion and fill the entire space.  It was only from 1956-9  that Popovi painted these pieces, which are among the most sought after and best of his career!   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in very good condition with no chips, cracks, restoration or repair.

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

$ 5,800.00
Tafoya, Camilio – Seedpot with Fish & Bird (1982)

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

$ 600.00
Nampeyo, Priscilla Namingha – Large Eagle Tail Bowl (1990’s)

Priscilla Namingha Nampeyo was a great-granddaughter of Nampeyo of Hano and granddaughter of Annie Healing,  She was also a sister of  Dextra Quotskuyva Nampeyo. Priscilla was the matriarch of a family of renown potters, including Rachel, Bonnie, Nyla and Jean Sahmie.  Priscilla began making pottery when she was only seven years old, under the guidance of Nampeyo of Hano. This large bowl is a classic of her style.  It is thin walled and painted with the classic “eagle tail” pattern, which was made famous by Nampeyo.  The top section is slipped with red clay while the design itself is painted with bee-weed (a plant) for the black. Each of the four eagle tails extends down over the shoulder and are surrounded by the bird wings.  The bowl was traditionally fired, so there are striking blushes on the surface.  Priscilla was known for her traditional designs along with the tightly painted designs.  The bowl is signed on the bottom “Priscilla Namingha Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is nice to see such a large and classic designed piece of her work in the gallery!

$ 3,200.00
Coriz, Arthur & Hilda  – Large Bowl with Plant Designs (1980’s)

This is very large bowl by Arthur and Hilda Coriz.  Hilda would coil build each piece and then they would be painted by Arthur. The painting was done with natural clay slips (white and red) and then wild spinach (black).  This striking large jar is painted with a classic Kewa (Santo Domingo) plant design encircling the piece.  Arthur alternated the direction the plants, giving the jar a more dramatic appearance.  The lower section is polished red and note on the base that the initial coils seem visible.  There is a “spirit line” or break in the painted design on the rim, which then extends down through the entire design!  This goes back to historic Kewa pottery when the artist would use the spirit line to release their spirit or connection from the vessel.  The bowl is signed on the bottom in the clay. The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is not often that we see their pottery and especially with the use of such classic designs!

 

$ 1,850.00
Vigil, Albert & Josephine – Jar with Feather Pattern (1970’s)

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

 

$ 775.00
Tahbo, Mark  – 16″ Wide Eagle Tail Shoulder Jar (1999)

This is a striking very large wide shoulder jar by Mark Tahbo.  The jar is a classic Hopi or Sikytaki shape, with the wide shoulder and a slight neck. The neck is just slightly turned out, which for Mark, it was the little details in his pottery which were important to him.  The shoulder of the jar is painted with an intricate eagle tail design.  Mark would often try and stylize patterns so that they were not just a repetition of previous work.  Here, the tail feathers can be seen in the center of the design, and then the wings extruding outward and mottled.  The jar was painted with bee-weed (black) and then clay slips.  Note that he used a deep red clay, but also a mauve clay slip in the center areas.  It was only around 1998-9 that he began to use the mauve clay, which he found near Hopi.  It was difficult to use and he didn’t have much, so he used it as an accent in his designs.  The jar is traditionally fired and the blushes are simply amazing!  The color variations range from white to orange almost red!  Mark worked diligently to create blushes on the surface of the pottery so that they would almost function as another design element!  The jar is signed on the bottom, “Mark Tahbo” and dated ’99.  The jar is in excellent condition with no chips, cracks, restoration or repair. The owners of the jar acquired it directly from Mark. Finding pieces of his this size, design and coloration is a great testament to his skill as a potter and painter!

$ 5,000.00
Laate, Jennie – Clay Zuni Owl (1980’s)

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This miniature owl clay figure.  It is coil built and in the style of the classic Zuni owls.  She has painted the feathers onto the surface of the piece.  It signed on the bottom and it is in very good condition with no chips, cracks, restoration or repair.  The last photo is of the owl next to the large jar which is online relative to scale.

$ 75.00
Tapia, Belen – Red Carved Jar with Mountain Designs (1970’s)

Belen Tapia was a diverse potter creating everything from painted to carved pottery.  This jar is from the 1970’s and at that time she was making primarily carved pottery.  Belen Tapia was a niece of Sara Fina Tafoya and the mother of Anita Suazo, and Anna Archuleta.  This jar is very deeply carved with a mountain or kiva step pattern on two sides.  Separating the mountains are cloud, wind and rain patterns.  It is unusual as it is a very fluid design across the surface.  The neck of the jar is just slightly turned out. The surface is highly polished and the background area has the traditional cream-colored clay slip.  The jar is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 1,500.00
Gonzales, Ramona Sanchez – Bowl with Cloud Designs (1920’s)

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

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

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

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

$ 1,200.00
Aguilar, Joe – Plate with Koshari Clown and Dog (1950’s)

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

For more information on the

Early San Ildefonso Innovators, Click Here.

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

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

For more information on the

Early San Ildefonso Innovators, Click Here.

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

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

For more information on the

Early San Ildefonso Innovators, Click Here.

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

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

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

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

$ 500.00
Garcia, Tina – Long Neck Jar with Fluted Rim

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

$ 1,000.00
Haungooah, Art Cody – Black & Sienna Wedding Vase (1973)

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

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

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

$ 800.00
Haungooah, Art Cody – Two-Tone Seedpot with Bee & Cricket (1977)

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

$ 800.00
Haungooah, Art Cody – Mini Bowl with Avanyu & Ram (1975)

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

$ 300.00
Haungooah, Art Cody – Seedpot with Feather Design (1978)

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

$ 600.00
Lonewolf, Joseph – “Leaping Grasshoppers” Seedpot (1997)

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

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

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

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

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

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

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

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

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

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

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

$ 2,000.00
Haungooah, Art Cody – Seedpot with Frogs (1981)

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

To learn more about Art Cody Haungooah, click below:

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

 

$ 600.00
Haungooah, Art Cody – Bowl with Pueblo Bird (1972)

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

To learn more about Art Cody Haungooah, click below:

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

 

$ 250.00
Haungooah, Art Cody -Jar with Fox and Feathers (1975)

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

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

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

$ 500.00
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