Martinez, Maria – Plainware Bowl “Marie + Julian” (1930s)
$ 1,500.00
This is a classic bowl by Maria Martinez. It is from the late 1920s to early 1930s. The bowl was made and polished by Maria. At that time, even if they made an unpainted piece, it would be signed by both of them. It is fully polished on the inside and outside, and even the bottom! It is amazing it has remained in such great condition for nearly a century. The piece was fired to a glassy, nearly silver, 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.
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This is an unusual jar by Maria Martinez. It is from the late 1920s to early 1930s. The bowl was made and polished by Maria. At that time, even if they made an unpainted piece, it woudl be signed by both of them. Then what is so unusual? It’s the shape! The jar has straight sides, a sharp shoudler and turned in rim. It’s not a shape Maria would often make, but it is visually striking and creates angles for the light to hit. The jar is fired a dark black coloration. It is signed on the bottom in the clay, “Marie + Julian” on the bottom. The jar is in very good condition with no chips, cracks, restoration or repair.
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Martinez, Maria (1887-1980)
Maria Martinez (1887-1980)
Maria Martinez is undoubtedly one of the best-known and most influential Native potters of the 1900s. She became famous for her creative pottery and traveling to museums, World Fairs, and other events throughout her lifetime.
Maria learned to make pottery from her aunt Nicolasa Montoya. Around 1919-1920, Maria and her husband, Julian Martinez, created the "black-on-black" style of pottery. This unique process allowed matte designs to be painted on a stone-polished surface, a stone-polished piece fired black. At the time, this unique and distinctive style of pottery quickly became a success, and by 1922, it was made by nearly every potter at San Ildefonso Pueblo. It helped to change the economy of Pueblo as pottery became a successful career.
Maria worked with Julian until he died in 1943. She then worked with her daughter-in-law, Santana, who married her eldest son, Adam. Again, she made the pottery, and Santana painted the designs. In the 1950s, Maria made plain pieces and signed them with her Tewa name, "Pove-ka," which means "Water Lilly."
In 1956, Maria started working with her son, Popovi Da. Maria made the pottery, and Popovi painted the designs. These are often considered among the best of her career after her early work with Julian. Popovi Da worked to revive polychrome pottery, created the sienna (double-fired) coloration, and made redware vessels. Maria also made a few pieces with her grandson, Tony Da, whom she taught to make pottery. Tony was one of the first male potters at San Ildefonso and had an exceptional career in ceramics and paintings. He was the subject of a book, "The Art and Life of Tony Da" by Charles S. King and Richard Spivey.
Maria Martinez was the subject of several books during her career. Alice Marriot wrote the book "Maria: The Potter of San Ildefonso" in 1948. Richard Spivey also wrote a book on her entitled "Maria." Both were essential additions to the collector's knowledge of this vital potter. Maria was also the subject of numerous museum exhibitions. Her pottery can be found around the world in various permanent museum collections.
Today, Maria's descendants include Barbara Gonzales, Cavan Gonzales, and Marvin Martinez, who all continue to make traditional San Ildefonso pottery. In addition, Jarrod Da is known for his modernist paintings.
Martinez, Maria (1887-1980), Signature "Marie + Julian", 1925-1943
