Sanchez, Russell – Polychrome Jar with Avanyu and 265 Inset Stones
$ 3,000.00
This is a classic polychrome jar by Russell Sanchez. He continues to be one of the true innovators and revivalists in Pueblo pottery. Each piece is perfectly coil-built, stone-polished, and etched. This jar has a red polished rim. The body of the piece is etched with a avanyu before firing. Below the shoulder are etched mountains and rain. The jar was traditionally fired and after the firing, the stones were added. There are two rows of turquoise hei-shi beads. The avanyu has a turquoise eye, along with inset hematite stones. There are additional inset stones on the raindrops. In total, there are 265 inset stones on the jar. The clay colorations of black, red, and white are all seen in San Ildefonso pottery from the 1880s to about 1920. His deep red clay is another recent addition to his clay art, starting around 2005. As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward. If we stayed stagnant we would no longer exist.” The jar is signed on the bottom in the clay, “Russell”. It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.
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This is a classic polychrome jar by Russell Sanchez. He continues to be one of the true innovators and revivalists in Pueblo pottery. Each piece is perfectly coil-built, stone-polished, and etched. This jar has a red polished rim. The body of the piece is etched with a avanyu before firing. Below the shoulder are etched mountains and rain. The jar was traditionally fired and after the firing, the stones were added. There are two rows of turquoise hei-shi beads. The avanyu has a turquoise eye, along with inset hematite stones. There are additional inset stones on the raindrops. In total, there are 265 inset stones on the jar. The clay colorations of black, red, and white are all seen in San Ildefonso pottery from the 1880s to about 1920. His deep red clay is another recent addition to his clay art, starting around 2005. As Russell continues to innovate from historic designs, he says, “Tradition means moving forward and adding to it. You keep moving forward. If we stayed stagnant we would no longer exist.” The jar is signed on the bottom in the clay, “Russell”. It is exciting to see how this imagery is not new but Russell’s reinterpretation of it both modernizes and revives.
