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Tafoya, Margaret – 10″ Wide “Gourd” Jar (1970’s)
10"w x 6.25"h
$ 8,500.00
WOW! This is a spectacular jar by Margaret Tafoya from the 1970s. It is one of our favorite shapes that she made. It is called a “gourd bowl”. The name comes from the small gourd “shards” that are used to smooth the inside of the pottery when it is being made. The pieces of gourd are similar in shape to the indentions on the shoulder of the piece. This jar has TEN evenly spaced gourd intentions. They are also technically difficult as the indentions are areas pushed into the clay. I took a photo of this jar from the top just to show how deep the indentions are on the side! Of course, the entire piece has to be polished at one time, which adds to the difficulty in the piece. This jar is highly polished and has a beautiful shine. The additional highlight of the shape is how the various curves on the surface reflect the light. The jar is in excellent condition with no chips, cracks, restoration or repair. This jar is signed on the bottom in the clay, “Margaret Tafoya”. Simply a spectacular jar and piece of history by this important Pueblo potter!
The Story of the Gourd Pot “Remember the story about the gourd. The gourd was asking Mother Clay, why she was just used for shaping the pottery. Why was she not given her own design? So she was allowed to create her own design. That’s why we have this shape, with the flat sides.” Mary Esther Archuleta
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Learn More:Tafoya, Margaret (1904-2001)
Description
WOW! This is a spectacular jar by Margaret Tafoya from the 1970s. It is one of our favorite shapes that she made. It is called a “gourd bowl”. The name comes from the small gourd “shards” that are used to smooth the inside of the pottery when it is being made. The pieces of gourd are similar in shape to the indentions on the shoulder of the piece. This jar has TEN evenly spaced gourd intentions. They are also technically difficult as the indentions are areas pushed into the clay. I took a photo of this jar from the top just to show how deep the indentions are on the side! Of course, the entire piece has to be polished at one time, which adds to the difficulty in the piece. This jar is highly polished and has a beautiful shine. The additional highlight of the shape is how the various curves on the surface reflect the light. The jar is in excellent condition with no chips, cracks, restoration or repair. This jar is signed on the bottom in the clay, “Margaret Tafoya”. Definitely a great piece of history by this important Pueblo potter!
The Story of the Gourd Pot “Remember the story about the gourd. The gourd was asking Mother Clay, why she was just used for shaping the pottery. Why was she not given her own design? So she was allowed to create her own design. That’s why we have this shape, with the flat sides.” Mary Esther Archuleta
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Tafoya, Margaret (1904-2001)
Margaret Tafoya
Margaret Tafoya is a daughter of noted potter Sara Fina Tafoya and a sister of Christina Naranjo and Camilio Tafoya. She is the matriarch of a family of renowned potters, each of whom created their distinctive styles. Margaret Tafoya had twelve children, eight of whom became potters. They include Virginia Ebelacker, Lee Tafoya, Toni Roller, LuAnn Tafoya, Mela Youngblood, Jennie Trammel, Mary Ester Archuleta, and Shirley Tafoya. Her grandchildren and her great-grandchildren carry on the pottery-making tradition today. Margaret Tafoya was a guardian of traditional pottery-making methods and techniques. She created large vessels with stone polished surfaces. Her carving was done before the piece was polished. She produced her work from the 1920s through the 1980s. Margaret Tafoya won numerous awards throughout her career, including Best of Show at Santa Fe Indian Market in 1979 and 1980. She was also awarded the Heritage Fellowship from the National Endowment for the Arts in 1984.The book, "Born of Fire," follows her life and art over many decades. It is also the only book to identify her pottery by the decade produced using the variations in her signature. This book is the first complete biography of Margaret Tafoya's life. It is divided into decades, giving the reader a deeper understanding of her life and pottery over nearly 100 years. There are new biographies on Virginia Ebelacker, Richard Ebelacker, Lee Tafoya, Linda Tafoya, Jennie Trammel, Mela Youngblood, Nathan Youngblood, Nancy Youngblood, Toni Roller, Jeff Roller, LuAnn Tafoya, Daryl Whitegeese, Mary Ester Archuleta, and Shirley Tafoya. The photography of the pottery in this book is exceptional. Throughout the book, personal narratives by family members and family photographs create a wonderful sense of her humanity and artistic accomplishments.
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