Spoken Through Clay

A NEW  RELEASE SPECIAL:  $95.00, including shipping (US)! Extended Through September 1, 2017

 Just a few things which make this book unique!

*   The size!  The book is 11.75″ x 14.25″ and weights over 8 pounds!
*  The photography of the pottery is stunning, emphasizing the individual pieces.
*  Each caption is the artist discussing the individual piece on the page.
*  The artist “biographies” are from interviews with the artists and they discuss their art, culture, lives and history.
*  Organization: The book is not organized by pueblo or family, but entails new ways to think about the future of Native pottery.
*  Printing in Italy gives the book very high quality color and paper.
* The photos of the living artists were taken by Will Wilson using a tin-type process. He was a recipient of the 2107 New Mexico Governor’s Award for the Arts in photography!
*  The book features work by more than 30 contemporary potters and more than a dozen important historic potters.
*  There are essays by myself, Peter Held and Eric Dobkin.  They add to the overall understanding of the project a historic perspective.

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“It’s one of the things that makes us who we are. It’s what holds our family together. We are a family of potters. It’s our identity. People don’t realize how much work goes into it just processing the clay and making it. You have to do it with your heart.”—Linda Tafoya-Sanchez

FEATURED ARTISTS Grace Medicine Flower • Dextra Quotskuyva • Autumn Borts-Medlock • Jody Naranjo • Harrison Begay Jr. • Jordan Roller • Sara Fina Tafoya • Lonnie Vigil • Margaret Tafoya • Steve Lucas • LuAnn Tafoya • Loren Ami • Toni Roller • Popovi Da • Linda Tafoya-Sanchez • Mark Tahbo • James Ebelacker• Yvonne Lucas • Jeff Roller • Lisa Holt • Harlan Reano • Nampeyo • Jacquie Stevens • Nathan Youngblood • Jacob Koopee Jr. • Jennifer Moquino • Christopher Youngblood • Maria Martinez • Tony Da • Tammy Garcia • Virgil Ortiz • Joseph Lonewolf • Johnathan Naranjo • Nancy Youngblood • Les Namingha • Russell Sanchez • Christine McHorse • Richard Zane Smith • Rondina Huma • Susan Folwell • Dominique Toya • Jody Folwell

Spoken Through Clay features the pottery of iconic Native American artists from historic potters Nampeyo and Maria Martinez, to contemporary potters Tammy Garcia, Virgil Ortiz, and many others, are featured in a new book published by the Museum of New Mexico Press. Spoken Through Clay: Native Pottery of the Southwest showcases nearly three hundred pottery vessels from the acclaimed Eric S. Dobkin Collection, covering a wide range of mostly Pueblo artists from the Southwest.

“The physical scale of the vessels combined with the depth of the contemporary collection [is] breathtaking,” says author Charles S. King. The book is part of a “transitional process of looking to the clay, the vessel, and the potter’s voice and allowing the pieces to stand on the merit of their artistic integrity.”

The book includes portraits and voices of renowned potters speaking about their artistry and technique, families, culture, and traditions. Many of the artists are connected by Pueblos, generations, or family members. Dynamic color photography captures the depth and dimension of the pieces, while the artists provide an illuminating perspective through narrative captions. Artists, academics, collectors, family members, and gallerists add additional insight about the lives, historical context, and importance of these potters and their work.

SPOKEN THROUGH CLAY Native Pottery of the Southwest The Eric S. Dobkin Collection
By Charles S. King Essay by Peter Held

Artist portraits by Will Wilson
ISBN: 978-0-89013-624-9

352 pages, 320 color plates, 40 artist portraits

Publication Date: August 01, 2017
ABOUT THE AUTHOR Charles S. King is the author of Born of Fire: The Life and Pottery of Margaret Tafoya, The Life and Art of Tony Da, Virgil Ortiz: Revolt 1680/2180, and numerous articles on Pueblo pottery. He has served on boards of art associations, judged pottery at prestigious events, and lectures about the art form. His business King Galleries represents many of today’s leading Native potters and important historic works in clay. Charles lives in Scottsdale, Arizona.

This is a very early miniature bowl by Rosemary Lonewolf.  The bowl is one of her few black pieces and it is very simple in design.  It has a rain pattern which is etched into the clay encircling the bowl.  It is signed on the bottom in the clay.  It is in very good condition with no hips, cracks, restoration or repair.

This large seedpot by Camilio Tafoya is from 1973.  It is fully polished and like much of Camilio’s pottery, it tells a story. Here, the boy is hunting a rabbit on one side with a bow and arrow. He is shown on the other side returning to the village with the rabbit.  Separating the two large medallions are plant designs.  Camilio began creating sgraffito pottery with his daughter, Grace Medicine Flower in 1970-1 and quickly developed his own style of pottery.   The piece is signed on the bottom in the clay.  The seedpot is in very good condition with no chips, cracks, restoration or repair.

Carol Velarde is known for her deeply carved pottery. This  bowl is deeply carved with a rain and lightning design.  Note how deeply she carves into the clay relative to the size of the bowl!  After it is carved and polished she then uses clay to outline the design.  Visually, this makes the imagery more dramatic.  The bowl is signed on the bottom in the clay.

Bernice Naranjo is known for her innovative incised pottery.  This seedpot is fully polished and fired brown.  She has etched a series of lizards on the surface of the piece. Some are placed sitting on the red polished clay and others on fine-line etched sections reminiscent of the sand or pottery shards.  The piece is signed on the bottom.

Carol Velarde is known for her deeply carved pottery. This jar is carved with a water serpent around the body of the piece.  In this style, Carol’s work is distinguishable as she usually carves into the negative space for her designs.  Note as well how deeply they are carved and the clay outline of the carved areas.  The high polished creates a visual contrast to the matte of the carved and painted areas.  The jar is signed on the bottom in the clay.

Dolly Naranjo is a daughter of Rose Naranjo and the mother of Jody and Elijah Naranjo.  This canteen is fully polished and has been fired brown.  There is a bird and flowers etched into the front of the piece. There is a leather strap for the handles.  It is signed “Dolly” on the bottom in the clay.

Denise Chavarria is a daughter of noted potter Stella Chavarria and a granddaughter of Christina Naranjo.  This jar has vertical melon ribs. On one section there is a Lightning band. The jar is highly polished and fired it a deep black.  It is signed on the bottom.

Mary Ami (1919 – 1999)  was also known as “Buffalo Maiden”.  She was born in 1919 to Dalee, a sister of noted potter Grace Chapella.  Dalee died when Mary was two, and she was raised by Grace and adopted by her in 1935.  Over the years she made very little pottery and mostly smaller pieces.  In 20 years here at the gallery, this is the only piece we have ever had come through!  This is one of the larger pieces of her pottery we have seen.  It is a classic tall vase with a bird painted on each side.   It has been traditionally fired which created the blushes on the surface.   It is in excellent condition with no chips, cracks, restoration or repair.

Lucy Martinez is known for her traditional style San Ildefonso pottery.  This jar is highly polished and painted with a feather pattern around the neck. Around the shoulder is a cloud pattern.  Typically she would make the pottery and it would be polished by her husband, Richard. The jar is in good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Lucy M.”.

There are a deer and Big Horn Sheep on each side of the jar.  Separating are a Deer Dancer and a Ram Dancer.  The jar captures connection between the animals and the dancers who portray them in various Pueblo ceremonies.  Flowing through the background of the jar is a water serpent (avanyu), which ties the entire piece together.  The area where he has etched away the polished surface he has then scraped down to create a striking contrast between the polished and matte surface.  The color from the firing on this jar is a dark brown.  Luciano is definitely one of those younger potters to watch!

Gladys Paquin is one of the revivalist potters of Laguna Pueblo.  Each piece is coil built, painted with bee-weed (black) and native clay slips and traditionally fired.  This large jar is one of her most classic designs.  The jar itself is thin walled and an exceptional form.  However, it is the polychrome rainbow pattern which is considered her most complicated and elegant design.  This jar has three interlocking rainbow pattern which encompass the surface of the piece. They are painted with two different clay slips and the brownish red color is polished.  This creates a visual contrast between the polished and matte surfaces.  The jar is signed on the bottom, “Gladys Sratyu’we Paquin”.  It is in very good condition with no chips, cracks, restoration or repair.

This seedpot by Dean Haungooah is highly detailed complicated sgraffito designs. The seedpot has a fish on one side and a Tewa sun on the other.  There are additional Mimbres insects along with a pueblo wall.  The etching on the surface is on different levels, creating matte and polished designs. There is a single inset piece of shell bead for the eye of the fish.  The seedpot is from 1993 and it is signed, “Dean Haungooah”.  It is in excellent condition with no chips, cracks, restoration or repair.

Luciano Naranjo is known for his contemporary style incised pottery using animals and nature as his themes.  This striking seedpot is highly polished and fired brown.  The design is a male and female deer facing in opposite directions.  Between them is a flower medallion.  Note the cloud step patterns in the ear.  This design is one of many that Luciano uses to distinguish his work from that of his father, Paul Naranjo.  Luciano is definitely one of those younger potters to watch!

This jar is a new design by Ida Shamie.  Her work utilized traditional Navajo imagery for her patterns.  The jar has four rug patterns painted on the shoulder using bee-weed (a plant) to create the black.  The neck of the jar is polished with a red clay slip.  Separating the rug designs are etched mesa patterns.  The jar has been traditionally fired.  Ida is a daughter-in-law of Priscilla Nampeyo.  She has won numerous awards for her pottery at events such as Santa Fe Indian Market.  She is the only Navajo potter creating this unique style of ethnographic pottery.

Tse-Pe Gonzales as a son of noted potter Rose Gonzales.  This jar combines the various techniques for which he was well known.  The jar has a round body and a small neck.  There body of the piece is a matte earth colored nearly-pinkish clay, which comes from near Abique, NM.  The central medallion of the jar is polished green and has a Dance figure and a bear paw as the design.  The etching is tight and the stippling of the background is a visual signature to Tse-Pe’s technique.  It is signed on the bottom with Tse-Pe’s hallmark. It is in excellent condition with no chips, cracks, restoration or repair.

Diego Romero was one of the potters around 1990 to break away from more classic shapes and styles of pottery. He returned to a pre-contact style of Mimbres culture (1100’s in southwest New Mexico) and was inspired by the open bowl shape. This has been his “canvas” throughout most of his career. The imagery evolves, changes and tells a narrative of his life and interests.  This very intricately painted bowl is entitled, “Terms of Endearment“.  It has the center panel with Chongo giving the girl a present and her shocked reaction.  Diego used the green slip for the color on the rim and more importantly to give the box a green-ish coloration of it being from Tiffany’s! Note as well all the detail in the painting.  The pottery on the pottery in the nicho and on the shelf, the logs in the oven are all highly detailed.  The interior of the bowl is then painted with a gold lustre which contrasts with the black and green.  The fine-line imagery is all derived from Mimbres iconography.  It is a charming and and visually striking piece by Diego.  The bowl is in perfect condition with no chips, cracks, restoration or repair.

Lupita Martinez was known for her highly polished and beautifully painted pottery.  She was also one of the last surviving early San Ildefonso potters.  Lupita was married to Anselmo Martinez and was a daughter of Santana Vigil. Her aunt was Isabel Atencio and her grandmother was Nicolasa Montoya, who taught Maria Martinez to make pottery. Lupita was known for her highly polished black-on-black pottery, typically with classic designs and shapes.This is a larger piece of her pottery and it is fully polished and fired a deep black.  It is from the 1950’s.   The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed, “Lupita Martinez” on the bottom in the clay.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  Many of her skills are ones that she learned from her father, Joseph Lonewolf. This seedpot has a series of Mimbres inspired bats.  The Mimbres people created exceptional pottery in the 1100’s.  Their style of painting has been inspiration to numerous potters.  This piece as the moon and stars at night.  There are three bats flying and not that the wings of each have different designs.  Note also how Susan has etched her pottery. The polished red is the surface, and then she often etches just the polished area away to reveal the matte red and the going deeper, there is the tan of the clay.  It is very complicated and time consuming to etch in this manner!  However, the results are exceptional.  The piece is signed on the bottom in the clay with her Tewa name, “Pho-sa-We”.  It is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

Andrew Pacheco is a nephew of noted potter Robert Tenorio.  He is known for his use of traditional techniques and materials but with non-traditional designs.  This is one of his asymmetrical jars with dinosaurs as the designs.  He started out making traditional Kewa pottery but was interested in dinosaurs. They quickly became a theme on his pottery. It is the combination of the dinosaurs and the form which work perfectly together and create a sense of movement to the piece.  The jar is painted with native clays and bee-weed and traditionally fired.

Dorothy Ami is a cousin of noted potter Mark Tahbo. This is one of her larger jars.  It is intricately painted with a series of Hopi birds encircling the piece.  The top and bottom have triangular geometric patterns. The birds are painted with red, burdundy and while clay slips. The black is bee-weed (a plant).  The large size and the dynamic designs flow beautifully on the surface of this piece!  It has been traditionally fired so there are blushes on the surface. It is signed on the bottom in the clay.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  Many of her skills are ones that she learned from her father, Joseph Lonewolf. This seedpot has a realistic buffalo etched onto the top of the piece.  On the sides are buffalo tracks and two petroglyph style buffalo.  Note also how Susan has etched her pottery. The polished red is the surface, and then she often etches just the polished area away to reveal the matte red and the going deeper, there is the tan of the clay.  It is very complicated and time consuming to etch in this manner!  However, the results are exceptional.  The piece is signed on the bottom in the clay with her Tewa name, “Pho-sa-We”.  It is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

Seferina Bell has long  been considered one of the great Zia potters of the 20th century.  This is a classic jar with birds on two sides.  Above the birds are the classic Zia rainbow with the red clay slip.  Separating the birds are a star pattern with the red band above and below.  The bowl was slipped with the white clay and painted with the red clay and which is polished.  There is a beautiful patina to the surface of this small bowl!  It is in good condition with no chips, cracks, restoration or repair but there is a slight lean to the form.  It is signed on the bottom with her hallmark, a bell.

Jamie Zane Smith creates dynamic pieces which combine strong forms with stamped surface designs. This striking jar is made with Oklahoma clay and coil built.  Jamie carves a stamp out of wood and uses that to texture his pottery.  This jar has a water swirl pattern to complement the water jar form.  The rim has swirl carved designs extending down the neck.  The top is carved in a traditional Iroquois style cooking vessel with the square edged sections on the top.  It’s the surface which is most interesting.  It is polished to give it the appearance of leather!  The inside of the neck is also fully burnished. The jar is thin walled and beautifully constructed.  It is signed on the bottom in the clay.  Jamie brings together a multitude of dimensions in his work blending the historic past with his modern visions.  Jamie remains one of the young creative potters bringing life to the clay in an area outside the southwest.

Diana Tahbo was known for her tightly painted pottery and especially her beautiful miniatures.  This is an unusual piece as it is made with the red Hopi clay.  The design is a classic eagle with the tail to one side and the head to the other (the pointed end).  It is a classic style of Sikyatki design revived by Nampeyo of Hano.  Here Dianna has used it on half the bowl. The entire piece is fully polished, including the inside!  The bowl is from 1996 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom “Dianna Tahbo”.

This bowl is unsigned jar is from the 1920’s.  It has a high shoulder and a slight neck.  The jar is indented with melon “ribs” around the shoulder.  They are pushed into the clay in the classic melon rib style. Typical of pieces from the early 1920’s, the jar is fully polished on the inside of the neck and also on the base.  It is fascinating to see such a classic style from this period and see how it has been reinterpreted today with both melon and ribbed jars. The piece is in very good condition with no chips, cracks, restoration or repair.  There are some surface scratches and wear typical of a piece this age. However, note the great condition of the bottom of this piece, which has very few scratches and reflects the care taken of it over the years!

Candice learned to make pottery from her mother, Darlene Nampeyo.  Each piece is coil built, stone polished and painted with Hopi-Tewa designs using traditional techniques and outdoor fired.  This bowl has a mountain and cloud pattern encircling the piece.  The red clay slip has mica in it and the black is painted with bee-weed (a plant).  There are some color variations from the firing.  It is signed on the bottom.

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.

Lonnie Vigil is known for his use of micaceous clay and is one of a handful of potters from Nambe pueblo.  He has taken this style of pottery and transformed it from utilitarian into fine art.  This jar is a very classic bowl with fireclouds at the base.  The bowl is thin walled and perfect in shape. The fire clouds are dynamic in coloration ranging from white to black.   It is this refinement of a traditional art form for which Lonnie won “Best of Show” at Santa Fe Indian Market in the 1998.

Dolorita Gutierrez was a daughter of noted potter Pasqualita Gutierrez and a niece of Sara Fina Tafoya.  This is a charming piece of her pottery created in a very functional style from the 1950’s. The pitcher is fully polished and painted with a cloud pattern on both sides.  The inside of the rim and the handle are also polished.  The piece is signed on the bottom in the clay, “Dolorita” and it is in excellent condition with no chips, cracks, restoration or repair.

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines tradition forms with a blend of contemporary and traditional designs.  This jar has as series of hummingbirds and flowers as the design.  The flowers, especially around the neck of the jar, are very traditional in Laguna style.  Note as well his use of the various clays to create a “three color” jar!   The jar is also traditionally fired, which adds to the overall difficulty of the piece.  It is certainly exciting to see a potter who is inspired by traditional shapes and designs and yet has the artistry to create his own distinctive variation!

Shirley Tafoya was well known for her miniature pottery.  Each piece of Shirley’s miniature pottery is coil built, stone polished and traditionally fired. This is a larger piece of her pottery and it is deeply carved with a lightning and cloud pattern on one side and  prayer feathers on the opposite side.  The polish on the surface is stunning with a glassy appearance.  The design is thoughtful, as was much of Shirley’s pottery, connecting the prayer feathers with the prayers for rain.  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”.

Tse-Pe Gonzales as a son of noted potter Rose Gonzales.  This seedpot is fully polished and fired brown. The design is a central plant pattern with a fish on either side.  The tails of the fish extend out from the circle of the medallion.  There is a single inset piece of turquoise at the top to represent the water.  The back of the piece is fully polished with no design.  The etching is tight and the stippling of the background is a visual signature to Tse-Pe’s technique.  It is signed on the bottom with Tse-Pe’s hallmark. It is in excellent condition with no chips, cracks, restoration or repair.

Loren Ami’s pottery is inspired by traditional Hopi designs and forms. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  This jar is one of his classic shapes with a wide shoulder and a turned out neck.  Loren said that the design on this jar was inspired by the Hilili Katsina.  The are inspired by the mask worn by the katsina.  The Hilili Katsina’s name comes from the call or noise that he makes. He is a Guard Kachina, who is mainly seen holding Yucca whips. He has become a popular guard at the ceremonies due to his dancing style. He can bee seen in the Powamu and Night dances.  The jar has been traditionally fired which creates the blushes on the surface.  Note the use of the mica in the red clay slip!  It is signed on the bottom.

This is an exceptional sculptural piece by Nora Naranjo-Morse.  It is a very large piece in the style of a mask yet minimalized into its component parts.  On the horizontal section there are the round “eyes” and the remainder is stylized with various Pueblo designs. In the center is an additional removable piece creating an additional aspect for the sculpture.  Nora is always amazingly innovative in her work and creative with her iconogrpphy. It is signed, “Nora”.  It is in excellent condition with no chips, cracks, restoration or repair.

Spectacular!  This is a remarkable piece from Luciano.  It is a beautiful shape with a wide shoulder and sloping neck. The entire jar is fully polished and the designs are etched into the clay. There are deer, a bear and wild turkey.  Flowing through the background of the jar is a water serpent (avanyu), which ties the entire piece together.  The area where he has etched away the polished surface he has then scraped down to create a striking contrast between the polished and matte surface.  The color from the firing on this jar is stunning as it is deep, rich brown.  It is great to see a younger potter taking chances on such major work.  Luciano is definitely one of those younger potters to watch!

Michelle Tapia-Browning is a daughter of noted potter LuAnn Tafoya and a sister of Daryl Whitegeese. While she is better known for her photography, she is also a gifted potter.  This bowl is coil built, carved, stone polished and traditionally fired.  The bowl is carved with a rain and mountain pattern.  While Michelle makes very few pieces of pottery, her work is classic and beautifully polished.

This engagement basket is a classic piece by Mary Cain.  It is fully polished, including the handle!  It is always amazing that the handles don’t crack or break in the polishing or firing process.  The bowl part of the piece is fully carved with a water serpent as the design.   It is in excellent condition with no chips, cracks, restoration or repair.

This large seedpot by Camilio Tafoya is from 1974.  It is fully polished and there is a rabbit on one side and a turtle on the other.  They are separated by a band of feathers.  Camilio began creating sgraffito pottery with his daughter, Grace Medicine Flower in 1970-1 and quickly developed his own style of pottery.   The piece is signed on the bottom in the clay.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.

Mae Tapia was known for her intricately etched miniature pottery.  However, this is one of the largest pieces of her pottery we have seen in a long time!  The bowl has three medallions which consist of a quail, lizard and rabbit.  Surrounding each of the medallions are various pueblo feather and geometric patterns.  The bowl is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Eunice “Fawn” Navasie was a daughter-in-law of Paqua Naha and a sister-in-law of Joy “Frogwoman” Navasie.  This is one of her smaller jars.  It is polished red on the rim and the remainder is a white clay slip.  It is painted with a cloud, rain and checkerboard geometric pattern.  Eunice was known for her larger versions of this jar, which can be found in Arizona Highways.  Finding a smaller one with such intricate painting is unusual!  The jar is signed, “Fawn” on the bottom,  It is in very good condition with no chips, cracks, restoration or repair.

This jar by Dusty Naranjo jar is from 2008 and it is fully polished and etched.  It has a series of horses encircling the piece. The horses are etched deeply into the clay and they are surrounded by stars in the background.  Dusty etches with a combination of lighter and deeper cuts.  The jar is fired brown.  The shape, color and design give the jar a very modern appearance.  It is in excellent condition with no chips, cracks, restoration or repair.

Diego Romero was one of the potters around 1990 to break away from more classic shapes and styles of pottery. He returned to a pre-contact style of Mimbres culture (1100’s in southwest New Mexico) and was inspired by the open bowl shape. This has been his “canvas” throughout most of his career. The imagery evolves, changes and tells a narrative of his life and interests.  This very intricately painted bowl is entitled, “In the Beginning“.  It has the center panel there are all three of Diego’s iconic figures, Hound, Coyote and Fox.  They are at that defining moment of creation, with each of them in an intertwined dance in the cosmos.  The bowl is flared out and it is painted with a classic Mimbres design.  It is signed on the rim, “Chongo Made Me, Chongo Painted Me”.  The bowl is in perfect condition with no chips, cracks, restoration or repair.

Click here to read more about Diego’s Imagery!

This is a very powerful piece from Diego Romero.  The title of the bowl is “Fallen Angel” and is one of the pieces Diego has created over the years touching on the impact of addiction.  The painting is exceptional with a very simple figure and a very impactful statement created.  The bowl itself has the flared rim and two bands of intricately painted designs.  Diego was one of the potters around 1990 to break away from more classic shapes and styles of pottery. He returned to a pre-contact style of Mimbres culture (1100’s in southwest New Mexico) and was inspired by the open bowl shape. This has been his “canvas” throughout most of his career. The imagery evolves, changes and tells a narrative of his life and interests. It is signed on the rim, “Chongo Made Me, Chongo Painted Me”.  The bowl is in perfect condition with no chips, cracks, restoration or repair.

Click here to read more about Diego’s Imagery!

Jacquie Stevens is best known for the simple use of forms on her pottery.  However, her Winnebago ancestry inspired her to often combine pottery and basketry together.  This jar uses the simplicity of form with a textured surface. The jar is made from a white clay and has a series of small dots encompassing the surface of the piece.  It has been reduction fired to make it black.  The piece has a minimalist style with an organic form.  The piece is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

Dora Tse-Pe learned to make pottery from her mother-in-law, Rose Gonzales.  She is renowned for her beautifully formed and highly polished pottery.  This is one of her classic pieces.  It is a highly polished black bowl which has a sienna rim. The bear lid is coil built and has a ridge so that it sits inside the mouth of the bowl. It is simple and yet a classic for San Ildefonso pottery.  It is signed on the bottom, “Dora of San Ildefonso” and it is in excellent condition with no chips, cracks, restoration or repair.

Cresencia Tafoya is the mother of noted potters Harriet Tafoya and Annie Baca. This is one of her highly polished red pieces.  The feathers are painted with a red clay slip and the cloud design is painted with a white clay slip.  The piece is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

Jody Folwell is known for her creative pottery shapes and designs.  This bowl is one of her classicforms with an asymmetrical polished rim.  The design on one side is a water serpent pattern which is etched into the clay.  The opposite side has a flower motif in the clay.   The bowl is fired brown with various colorations from the firing.  It is signed on the bottom, “Jody”.   It is in excellent condition with no chips, cracks, restoration or repair.

Darlene learned to make pottery from her aunts, Dextra and Priscilla.  Her pottery is more traditional in style and she continues to use Hopi clay for her pottery and paint with bee-weed for the black.  This is a charming set she has made with two small bowls made with the Hopi red clay.  They are affixed to two clay “rock” slabs.  She said she had made the miniatures and thought they were more interesting as a group, as if they were sitting out on the rocks at Hopi.  It has been traditionally fired to create the variations in color on the surface.  It is signed on the back.

This small long neck jar by Dusty Naranjo is a fully polished and etched.  It has a series of hummingbirds and flowers as the design. Near the neck it is more fully designed with geometric patterns.  There is a wonderful intricacy of the designs of the flowers on the sides as they extend upward to the hummingbirds! Intricate and elegant!

Rose Williams is one of the great matriarchs of Navajo pottery.  Her daughters Susie Crank and Alice Cling both continue in a traditional style of pottery, as does her daughter-in-law, Lorraine Williams.  This is an exceptionally large piece of her pottery in collaboration with her daughter, Susie.  It is fully polished and traditionally fired.  The shape is based on traditional Navajo pottery with the low shoulder.  Around the rim is a raised relief mountain design. The jar is traditionally fired and afterwords covered in pine pitch.  This was a traditional method historically to make the pottery water-proof. Today, potters continue this process as a testament to the past. The jar is signed on the bottom in the clay by both potters.

Dolores Aragon is known for her miniature pottery. This small seedpot is painted with a flower pattern on the top. The design extends outward with additional flower petals.  While it is small, it is beautifully painted!  It is signed on the bottom.

Glen Nipshank is known for the organic shapes of his pottery.  This tall jar has an asymmetrical form with a rounded base and long neck.  The base and sides are pushed in, challenging the strength of the clay walls.  The white clay adds additional shadows to the recessed sections.  Glen brings a fascinating non-pueblo perspective to Native pottery. The jar is from 2007 and it is in excellent condition with no chips, cracks, restoration or repair.

Dennis Daubs is known for his intricately incised pottery.  Each piece is coil built, stone polished and the imagery is etched into the surface of the clay.  This jar has a water serpent around the shoulder of the piece.  Above and below are eternity belt patterns.  The designs are very intricately etched and note the precision of the lines.

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  His work used traditional designs, forms and techniques, yet somehow appeared very modern.  This tile is from 2000 and was made for a “Hopi Tile” show that we had here the gallery.  The lizard is painted on a polished white clay surface and the colors are all natural clay slips.  The black is bee-weed and note the tightly painted fineline designs. Nathan used a piece from a broken vessel to create this “shard” which he wanted to look like an ancient piece that had just been found.  There is a little bit of wear on the black and some minor spalling, which adds to the feel of the piece being “old”.  Note on the back the rust colored area below the signature, that was where he put some caliche clay he found here in AZ and he wanted to see what color it would fire.