This is a larger tile by Sadie Adams. The tile has a very classic style Hopi bird as the design.  The body of the bird is made up of traditional Hopi patterns such as rain, clouds and lightning designs. The bird is standing on a stylized bird patterns as well!  It is signed on the back with her flower hallmark.  It is  in excellent condition with no chips, cracks, restoration or repair.  It is certainly and beautiful example of her pottery and painting skill.

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”

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 birds on the plate and design deconstructs them into head, body and wings.  Note in the center are bird tracks.  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 late 1920’s.  Note how the back of the plate is fully polished and has a very angular appearance, which is typical of the early plates at San Ildefonso.  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”

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 bowl is stone polished and painted with four butterflies or moths as the design.  This is a fascinating use of a very old design.  The body of the each moth is in the center and the wings are polished red. It is the head of each moth which is the mouth of the bowl!  Loren has perfectly used the form of the bowl to become part of his design.  The bowl is traditionally fired which creates the blushes on the surface.  Loren is certainly one of the traditionalist Hopi-Tewa potters to watch, as each new piece reveals his strength as both a potter and an artist!

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.

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. The neck of the jar is slipped with a micaceous red clay. The design on the jar is very traditional series spiders on two sides.  This is a design which was often used by Nampeyo of Hano.  The two larger spiders are represented by both male and female.  The opposite two sides have more stylized spider motifs.  This jar is also symbolic as Loren is also spider clan.   Note as well that he also used an additional darker brown slip.  The is a small area where the jar has fired a darker almost black in the center of the spider.  The jar has been priced accordingly.  It has been traditionally fired to create the blushes on the surface. It is signed on the bottom.

Calvin Analla learned to  make pottery from his sister, Yvonne Lucas and her husband, Steve Lucas.  This unique bowl is made from mixing two different types of clay together.  That creates the mottled appearance of the clay.  The bowl is a classic shape and it is painted with cloud and rain designs.  Note the very fine lines of the rain pattern!   The designs are painted on with bee-weed (a plant).  The bowl is amazingly thin walled, which is typical of Calvin’s pottery.  It is signed on the bottom.

Martha Appleleaf learned to make pottery from her mother, Carmelita Vigil Dunlap. Today she continues to create distinctive pottery with traditional designs.  This is a classic shaped water jar with a sharp shoulder and a micaceous clay rim. The jar has been painted with a green clay slip, which has a very subtle green coloration after the firing. The design is a feather pattern around the shoulder and a prayer feather design around the neck.  Below the shoulder are tadpoles. The jar is signed on the bottom in the clay.

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.

Rachel Aragon is known for her classic Acoma pottery.  This water jar is a classic Acoma shape with a high shoulder and slightly turned in neck.  The jar has birds on two sides and the remainder is painted with a very intricate fine-line pattern.  The delicate lines are inspired by classic Acoma pottery from the late 1800’s.  The jar is signed on the bottom in the clay.

Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya.  While she no longer makes pottery she was active in the 1970’s and 1980’s.  Much of her pottery was inspired by the incised San Juan style of pottery as she married into San Juan and lived there.   This is one of her carved melon bowls.  It is a beautiful shape and highly polished.  There are 21 ribs on the bowl and each is carved into the clay and separated by a matte band.  It is perfectly polished and a stunning black mellon.  It is signed on the bottom in the clay, “Mary E. Archuleta.  It is in perfect condition with no chips, cracks, restoration or repair.

Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya.  She has never made a lot of pottery and most of it was in the 1970’s and 1980’s. A majority of her pottery was inspired by the incised San Juan style of pottery as she married into San Juan and lived there.  This bowl is a classic round shape with bear paws as the design.  It is perfectly polished and a stunning deep red color.  It is signed on the bottom in the clay, “Mary Archuleta”.  It is in perfect condition with no chips, cracks, restoration or repair.

This is a beautifully shaped jar by Mary Ester Archuleta.  The jar has a round body and a slightly turned out neck.  It is fully polished red and carved around the body with a kiva step design.  The carved areas are polished tan in contrast to the red of the remainder of the jar.  There is also the traditional cream colored slip painted into the carved areas.  It is signed on the bottom in the clay, “Mary E. Archuleta.  It is in perfect condition with no chips, cracks, restoration or repair.  Mary is the second youngest daughter of Margaret Tafoya.  She married into San Juan Pueblo in the late 1960’s and created most of her pieces in the San Juan inspired style.

Alvin Baca is known for his classic melon ribbed jars. This black jar is carved with 24 ribs.  It is fully polished even to the base! The shape is a classic for Alvin with the high shoulders but the use of the rounded neck is a new addition to his style.  The jar is signed on the bottom in the clay.

Alvin Baca is known for his classic melon ribbed jars. This red jar is one of his few miniatures.  There are sixteen ribs on the jar.  It is fully polished even to the base! The shape is a classic for Alvin with the high shoulders but the use of the rounded neck is a new addition to his style.  The jar is signed on the bottom in the clay.

This is a striking carved melon bowl by Angela Baca.  It is highly polished and has has 24 carved ribs. The area between each rib is a very narrow area of matte in contrast to the polished surface.  The use of the matte to separate each of the ribs harkens back to an earlier style of melon bowls.   The bowl is her classic shape with evenly carved ribs and a polished rim.   The highly polished surface and matte areas almost create the appearance of the matte as an indented shadow!  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom  in the clay.

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This bowl is very highly polished and it is one of her classic shapes with a sharp shoulder.  There are rain and prayer feather patterns painted on the shoulder of the piece.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This oval shaped bowl is very highly polished.  Typical of her work it is formed with a very sharp shoulder.  The designs are painted onto the polished surface.  Looking at the bowl, there are cloud, rain and lightning patterns.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Harrison Begay, Jr. has won numerous awards over the years for his deep carved pottery.  This jar is carved with two heartline horses. The “heartline” represent the center and strength of the animal.  As the jar is turned there are feather patterns along with a sun, water and double dragonfly design. The dragonflies tie in perfectly with the heartline horses, as they represent the spiritual messengers.  Note with the horses the cloud patterns by their mouths, connecting them to the dragonflies.  The designs are either polished or matte, which Harrison alternates to accentuate his imagery. Note as well the style of carving, which has a beveled appearance to the angle of the cuts into the clay. This is a very distinctive style of carving for his pottery.  Harrison has won numerous awards for his work and continues to be one of the leading innovators in Native American Indian pottery.  The jar is signed on the bottom in the clay.

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 is a very unusual and traditional style bowl.  The shape is a “kiva” bowl with the kiva steps on the side.  On the outside they are painted with dragonflies and on the inside with clouds.  The center of the bowl has a traditional frog as the pattern with a cloud design on its head.  The bowl is slipped with a white clay and the painted with natural clay slips and traditionally fired.  It is signed on the bottom with his wave/cloud hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.

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.

This Zuni carving by Cheryl Beyuka has two wolves carved from pipestone.  They are connected and there is a dragonfly on top  carved from black marble and wings carved from apple coral and mother of pearl.  It is symbolic as wolves mate for life and the dragonfly is symbolic of prayers.

Blue Corn is certainly one of the most creative potters of her time with a varied used of clays and firing techniques to create her distinctive pottery.  This bowl is a classic of her polychrome pottery. It is fully polished a gray-cream color and then painted.  The design is a cloud, rain and lightning pattern. The red slipped part is the lightning.  The bowl is signed in the clay, “Blue Corn”.   The bowl is in very good condition with no chips, cracks, restoration or repair.

Blue Corn is certainly one of the most creative potters of her time with a varied used of clays and firing techniques to create her distinctive pottery.  This is one of her few red pieces. The jar is fully polished red and has a feather pattern painted on the shoulder. The feathers are tightly painted in a matte clay to contrast with the highly polished surface. The shape works perfectly for the design with the low, sharp shoulder and the elongated neck.  The jar is signed in the clay on the bottom, “Blue Corn”.   The bowl is in very good condition with no chips, cracks, restoration or repair.

While Blue Corn is often best known for her polychrome pottery, she began her career making black pottery. This is one of her earlier pieces from the 1950’s and it is deeply carved with an avanyu.  The style of the carving is much like that seen in other early San Ildefonso potters, with a “cameo style”.  The avanyu encircles the shoulder of the bowl and there are also deeply carved clouds.  The piece is highly polished and fired a deep black.  It is not often that we see such complex carved pieces of this size.  It is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The bowl is in very good condition with no chips, cracks, restoration or repair.

This Zuni carving by Lena Boone. She is one of the most famous of the traditional Zuni fetish carvers. This badger is carved from turquoise and has a medicine bundle on it back.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  The boxes are inspired by the traditional corn meal boxes which were used ceremonially. Today, few potters consider making boxes, as they are technically so difficult.  This box is very traditional with a water serpent encircling the piece. The avanyu is fully polished and the tongue is slipped with a micaceous clay.  The lid is micaceous with a polished top.  The eye of the avanyu is a single piece of Damale Turquoise inset on the back.  It is signed on the bottom in the clay.  It is striking use of traditional designs and form.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This box is a difficult shape to create with the flat sides.  The box has four rabbits carved into the side . Each rabbit is different and each is fully polished.  There is an additional white clay slip on the belly of each rabbit. They are surrounded by a micaceous clay  slip.  The top of the box is fully polished and has a rabbit figure.  The rabbit is matte and and has a single piece of Damale Turquoise inset on the back.  It is signed on the bottom in the clay.  It is a fanciful piece and yet chariming form and design.

This is a classic water jar shape by Autumn Borts-Medlock.  It is carved then stone polished and fired black. The entire surface is fully carved with a water serpent which encircles the jar.  The body of the avanyu has cloud and rain patterns and there is a beautiful flow of imagery as the piece is turned. The coloration from the firing is also unique, as it is fired black, but in the light has a golden black color!  The glassy polish and the complex carving make this exceptional smaller piece of her pottery.  Note as well the depth of carving for a piece this size!! The jar is signed on the bottom in the clay.

This jar by Autumn Borts-Medlock is an exceptional shape with flat sides and a round base.  It is fully carved with Pueblo style dragonflies on two sides. The other two sides have cloud and bird patterns carved into the clay. The entire piece is fully polished with small areas of matte to contrast with the shine of the polish.  The lid is also unusual with a twist for the top and sections on the end which extend down over the side of the jar!  The jar is beautifully stone polished and an exceptional example of Autumn’s innovative style

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This seedpot is fully carved with three flowers as the design.  The flowers are each fully polished and there is a white clay slip used for the center of each.  She has also used a green clay slip for the leaves of the plants.  Separating each fo the flowers are swirling cloud designs.  Above the flowers is a lighting, cloud and rain design polished red.  She has carved her signature “circles” into the clay and they are highlighted with a mauve clay slip.  Note as well how she has used a micaceous clay slip for the background matte area.  This adds just a bit of sparkle to the piece in the right light!  The bowl is nearly completely carved!  In addition, the carving is sharp and it has an amazing feel when it is held.  It is signed on the bottom in the clay.

This is a extraordinary piece by Autumn Borts-Medlock and her mother, Linda Cain. Over the years they have created some extraordinary collaborative pieces.  This jar has a carved elk skull which is deeply carved, etched and highlighted with a white clay slip on the front of the piece.  The antlers of the elk are also carved and polished red.  In the center of the skull is a large inset piece of turquoise.  As the jar is turned, the antlers extend to the back and there are two crossed arrows with a single inset piece of turquoise.  The area surrounding the carved surfaces has a micaceous clay slip. The use of the mica is a perfect contrast to the polished surfaces.  The top of the jar is carved with a kiva step pattern.  The scale of the jar along with the complexity of the carving make this a exceptional piece of their art.  Autumn is a sister of noted potter Tammy Garcia.  Both Autumn and Linda have won numerous awards for their pottery, recognizing their creative and contemporary style of carving.

This is a fascinating piece by Autumn Borts-Medlock and her mother, Linda Cain. Over the years they have created some extraordinary collaborative pieces.  This large jar is very feminine in shape and this follows through to the design.  The jar has a series of women surrounded by large flowers.  The design is intricately carved into the clay.  It is polished red and tan and there are white and purple matte clay areas.  It is definitely a fun and fanciful jar!  The piece was made in 2004 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.  The scale of the jar along with the complexity of the carving make this a exceptional piece of their art.  Autumn is a sister of noted potter Tammy Garcia.  Both Autumn and Linda have won numerous awards for their pottery, recognizing their creative and contemporary style of carving.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment or life in contemporary Pueblo culture.  This digital photo is called, “Generation Hands”.  It is certainly one of the most powerful of her digital photos.  Ashley says, “The models are  (Top to bottom) Samantha Whitegeese, Mindy Little Yellow Bird, Tina Whitegeese, Michele Tapia Browning and Lu Ann Tafoya.  It is a portrait of four generations of strong women, a Student, a disabled woodworker, a corporate person, an artist and a potter. On their arms is the tewa words that represents their relations to me. So it goes from top to bottom: younger relation (no real tewa word for cousin), relation (no real tewa word for sister), aunt, mother and grandma.”  The original photo was taken and then overlayed with the words in Tewa.   The first in this series won a FirstSecond Place at Santa Fe Indian Market in 2014. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment in Pueblo culture.  This digital photo is called, “Juxaposition”.  The model is Samatha Whitegeese (a daughter of Daryl Whitegeese).  Ashley says of this piece, “This photo is about young woman who is balancing her contemporary lifestyle and her traditional pueblo life. It is an everyday challenge that almost every young person deals with while going to school and participating in traditions.”  She took multiple photos of Samantha and combined them together to create this image.  The first in this series won a First Place at Santa Fe Indian Market in 2013. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment or life in contemporary Pueblo culture.  This digital photo is called, “NDN iPhone”.  The hand model is Shaandiin Tome.  Ashley says of this piece, “It has hand drawn icons that are a Native version of iPhone apps, it is placed that are set on top of Montana Tee Pees.  So cool, it should be made into an actual apps.”  Take a closer look a few of the apps, as they certain capture the life of many Native artists.  Ashley certainly has an extraordinary sense of cultural critique in her artwork.  The first in this series won a Second Place at Santa Fe Indian Market in 2015. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning uses her photographic and innovative graphic skills to create her unique digital photo compositions. This piece is entitled, “Paper Doll” and utilized Leslie Browning Tafoya as the model.  Ashley says of this piece, “After playing with paper dolls as a child, I always wanted to play with a pueblo paper doll, especially a paper doll from my pueblo of Santa Clara. I inspired it from the summer side, where there is a mix of different style and colors.”  The piece is creative with the various traditional clothes from Santa Clara. She ended up dressing the model three different times for the clothing ‘options’.  Native People’s Magazine wrote about Ashely and this piece,

 “I like to make people feel, to remember something—experience something meaningful,” says Ashley Browning, 21, of Pojoaque and Santa Clara pueblos in New Mexico. In 2013 she won first prize at Indian Market for best computer-generated graphics with her “real-life” paper doll, which featured a digitally altered photo of her model with interchangeable traditional and contemporary attire. With it, Browning used the digital present to evoke memories of the previous generation’s analog world.”

The first piece in this series won first place ribbon at Santa Fe Indian Market in 2013.  It is an edition of 10 and framed in a black frame.

This is a beautifully carved jar by Linda Cain. The jar has a wide shoulder and a short neck.  The design in an avanyu (water serpent), which encircles the piece. The carving is deep and complicated with imagery extending up the neck.  The rim is fully polished while the neck has a micaceous clay slip. There are additional matte areas which are designed as clouds which have a mica slip.  The bottom of the jar is fully polished.  The jar is signed on the bottom in the clay.

This unique shape vessel by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts-Medlock.  It is carved with an avanyu on one side, with a very stylized circular appearance.  The opposite side has a water design carved into the clay.  The carved areas are polished red while the remainder of the jar is a matte tan.  The contrast of the matte and polished surfaces creates a striking distinction and emphasizes the imagery.

This is an intricately carved miniature jar by Linda Cain. Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts-Medlock.  The jar has a striking round shape with a carved avanyu as the design. The neck is carved with asymmetrical feathers.  She has created a distinctive contrast between the matte and polished surfaces.  For such a small piece, she has carved deeply into the clay, which is always more difficult.  The jar is signed on the bottom.

This is one of the larger pieces we have had by Linda Cain.  She is the mother of noted potters Tammy Garcia and Autumn Borts-Medlock.  The jar is very deeply carved with two mountain lions as the design.  They are both inside the cave and the tan micaceous rectangular “door” is the opening to the mouth of the cave.  The neck of the jar is also micaceous and the rim of the jar is polished red.  The two mountain lion figures are surrounded by carved geometric patterns.  The contrast of the polished red surface and the micaceous slips is visually striking.  The wonderful story of this jar is certainly enchanting in both the shape and design.  The jar is signed on the bottom in the clay.

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 wedding vase 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 body of the piece is fully carved with a water serpent.   It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.  Mary is the matriarch of a family of potters including children Linda Cain, Tina Diaz and grandchildren Tammy Garcia and Autumn Borts-Medlock.

Daryl Candelaria is one of the few potters working at San Felipe Pueblo.  He studied both historic and contemporary pottery at the School of American Research in Santa Fe, NM.  This jar is one of his classic “Shard” pots.  It is coil built and each of the “shards” is carved into the clay.  What makes it so extraordinary is that each shard is either painted, polished or carved in a representative manner the various Pueblos.  Few potters have the technical ability to create so many diverse surfaces, let alone on one vessel!  As the jar is turned the classic Zia, Jemez and Hopi designs.  The carved and polished red section with the avanyu head is reminiscent of San Ildefonso.  The figure and parrot are inspired by the Awatovi murals.  There are San Felipe geometric designs along with a red polished and micaceous section.  Note as well the red-on-red section and the black-on-black section.  Amazingly the various styles and techniques blend beautifully on the jar.   It is signed by the artist and it is in excellent condition with no chips, cracks, restoration or repair.  What a perfect way to portray the history and techniques of Pueblo pottery in one vessel!

Hubert Candelario is one of the few potters working at San Felipe Pueblo.  This is one of his “puzzle pots” which has a deeply carved design which encircles the entire surface of the piece.  The interior of the carved designs is slipped with a black mineral clay.  The surface is slipped with a micaceous clay which gives it the color and shine.  There is a modern fell about this unique design which has a very free flowing motion across the surface of the seedpot.  This seedpot is from 2004 and it is in excellent condition with no chips, cracks restoration or repair.

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.

This is an intricate seedpot by Debra Trujillo (Duwyenie) and Harvey Chavarria.   The seedpot has a pueblo dancer etched into the clay holding a medicine wheel. There is an inset piece of turquoise representing the belt buckle on the figure.  This round flat shape of seepot is one that was stylized by Debra & Harvey for their work.   The piece is in very good condition with no chips, cracks, restoration or repair.

This seedpot is by Debra Trujillo (Duwyenie) and Harvey Chavarria.  It is dated “8-16-83”, which means it was made for Santa Fe Indian Market in 1983.  The piece is a very round seedpot with a incised hummingbird and flowers as the design.  The piece is in excellent condition with no chips, cracks, restoration or repair.

This is a classic jar by Marie Z. Chino.  It has the classic rain and lightning patterns painted around the neck. Below the shoulder are bird designs which extend down to the base.  The flow of design is typical of Marie’s painting and part of what has made her one of the great names in Acoma pottery.   The jar is a traditional Acoma olla form with the wide shoulder and slight neck.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Marie Z. Chino”.

This jar by Alice Cling has a narrow base and has an asymmetrical rim. The idea is that the rim looks like the mountains and mesas in the Southwest.  This jar is fully polished red and then fired outdoors.  The striking variation in the color are from the smoke and fire.   The colors on this piece are extraordinary as there are areas which range from red to black.  The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a lightning carved shape to the rim.  The remainder of the jar is highly polished red but note that she has added a band of green clay slip around the rim of the jar.  It creates a striking visual contrast after the firing.  The jar is traditionally fired and ranges in color from deep red to black. The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a round shoulder and a long neck.  The shape is elegant with the proportions.  The entire jar is highly polished red. It is then outdoor fired and the stunning variation in the color are from the smoke and fire.   The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a high shoulder and a square mouth.  The jar is highly polished red. It is then outdoor fired and the stunning variation in the color are from the smoke and fire.  Note the color variation from a deep red to dark black.  The square mouth adds to the overall strength of the form. The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

Susie Crank is a daughter of Rose Williams and a sister of Alice Cling.  This is one of her classic shaped water jars.  The jar is slipped with a red clay and then traditionally fired. The various colorations are created from the smoke in the outdoor firing.  The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof.  It has striking color variations from red to black.  It is signed on the bottom.

Dolores Curran contineus to create intricately incised and painted pottery.  She was inspired to create these red polychrome incised and painted by her husband, Alvin Curran.  He was known for his incised San Juan style pottery in the 1990’s.  This is one of her larger pieces and it is extraordinary in its design!  The jar has a polished neck and base.  Around the center of the piece it is fully designed.  Just above the shoulder is an incised water serpent (avanyu).  It is slipped with a red clay and surrounded by a micaceous clay.  Around the side there are very intricately incised feathers, each with additional designs from cloud to lightning to rain patterns.  Opposite from one another are a sun and moon pattern.  The sun has the red face and the moon the white.  All the various colors are derived from natural clay slips. All the designs are incised (cut very shallow) into the clay!  They are then highlighted with the clay slips.  Near the base, there are little red-on-red dragonflies painted on the jar.  The lid is fully polished and has a micaceous clay slipped bear on the top.  On the polished part of the lid there is a water pattern and a little old style dragonfly!  Amazing detail and imagery!  The jar is signed on the bottom in the clay.

This red water jar is a late piece by Popovi Da, as he passed away the same year it was made.  It is a classic water jar and fully polished.  Popovi Da created both plainware and painted vessels.  He was a son of potter, Maria Martinez.  While he worked with her painting designs on her pottery, he also created a few pieces on his own beginning in 1962.  He was planning to continue making pottery on his own after Maria retired but unfortunately passed away before this could occur.  His pottery pieces are definitely a rarity among Pueblo pottery and it is not often that we come across his work.   This jar is signed on the bottom in the clay “Popovi 471” which is the firing date of April, 1971. It is stunning in color and form and certainly a rarity of his work!

Over the course of a career that spanned from 1967-82, Tony Da 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.  The last photo here is one of Tony in 1967 at Gallup Ceremonials at his booth.  The pottery ranges from bears and candlesticks to horno ovens and plates.  The horno oven identified with the arrow in the photo is the one that is currently featured here!  It is certainly a rarity to have a piece of his work that is a significant part of the historic record.  As well, almost every other piece in the photo is now in a museum collection!  The horno oven is fully polished and has a very high shape and a near gunmetal appearance from the firing.  There is a small rub on the front edge which can be seen in the photos otherwise it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “D’A”, which was his earliest signature with the use of the apostrophe.  As well, I left on the sticker that says “1963”, which is incorrect as he was in the Navy at that time and had yet to make pottery.  It also reflects that until the publication of “The Art and Life of Tony Da” there was not an accurate assessment of when pieces were made.  It’s nice to now have more knowledge and perspective of his influential pottery and this unique piece is certainly an innovative example of his early work.

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 1970-71.  It is featured in the book, “The Art and Life of Tony Da” on page 57.  The jar is perfectly polished and fired to a gunmetal appearance. The rim has been “two-toned” sienna.  Note how on the black and sienna pieces there is a the sienna color (where the black has been burned back off) and then a “halo” of black and then the gunmetal. The jar is designed around the shoulder and has a seed and a prayer feather pattern.  This is a design that he did not often do in his pottery, which makes it distinctive.  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 his first public showing was at Gallup Ceremonials of that year.

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.

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.

Juan Cruz is creating some beautifully painted polychrome pottery.  He is a son of noted potter Lois Gutierrez.  Lois made the jar and Juan, who is noted for his illustrations, painted the design using natural clay slips..  The jar is an elegant wide shoulder jar with a low shoulder and sloping neck neck.  Juan wrote a description of the jar as follows,

“This piece depicts a gathering of women and children at a spring; collecting water with their clay vessels and gourd ladles.  Between the two central figures of the piece is the stylized representation of the spring with accompanying plant and insect life sprouting forth from its abundance!”

The jar is truly polychrome (more than three colors of clay).  Note the intricacy of the painted designs and especially the figures.  They are each distinctive in stance or dress. Each piece of pottery is also different with variations in color, shape or design.  The background designs of the dragonflies and how they connect to the sashes of the various women is a symbolically beautiful part of this story.  The jar has been traditionally fired outdoor and overall is a striking coloration.  It is signed on the indented bottom of the jar by both Juan and Lois.  The description is written on the back of a hand painted graphic of a Pueblo woman and child.  What a phenomenal addition to this piece and the painting helps to better understand how exceptional Juan is with his art.

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar with a as a classic avanyu (water serpent) encircling the piece.  It is intricately carved with elaborate designs for the body of the piece.  Note the various sections which create swirls and various angles for the design.   It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has the traditional cream colored slip, which few potters use today because it is difficult to apply.

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar is fully carved with very sharp geometric patterns.  The jar has rain patterns which are the melon ribs extending across the design.  The remainder of the piece consists of tan polished prayer feather patterns. The number of individual sections makes this a very complex piece for both carving and polishing!  It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has a red colored slip for contrast with the tan.  The piece is signed on the bottom, “Tina Diaz”. 

Debra Duwyenie is well known for her wonderful miniatures and incised designs.  Each piece is stone polished and then it is etched before it is fired!  This seedpot was made by Preston Duwyenie (her husband) and Debra polished the central medallion while the remainder of the piece is slipped with a micaceous clay.  The design on the medallion is a sunface surrounded by a feather pattern.  Around the outside are cloud designs.  Note that the lighter red matte areas are where Debra has only etched away the polished surface but not down as far as the tan color of the clay.  Debra is attentive to the little details, like the background tan area where she tightly etches the vertical lines to accentuate the polished design.

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot is a larger piece for Debra and amazingly complicated with its designs!  The matte red areas are parts of the design in which the polished slip is scratched away leaving the matte red.  Note in the tan area of the background that more deeply incised lines.  The complexity of the design is amazing on this piece, especially how the flowers and bird wings all seem to interconnect!  There are birds and flower across the entire surface of the piece. On one side is a sun or Tewa design with the surrounding feather pattern and the opposite has a rainbow.  The lid is made by Preston Duwyenie.  It is silver cast against cuttlefish bone to create the design.  The bottom of the silver lid and the bottom of the seedpot are both signed.  It is stunning in the complexity, polishing and complement of the lid with the imagery on the piece!

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot has a feather pattern on the top. There are various fish and  turtles as the design below.  Each of the turtles has a different design on the back.  Note the one with the wavy lines, that one is meant to represent Preston Duwyenie, her husband, who is known for his “shifting sand” pottery.  Note that the lighter red matte areas are where Debra has only etched away the polished surface but not down as far as the tan color of the clay. Debra also pays close attention to the little details like the tan background area and how evenly she etches the vertical lines.  The lid is made by her husband Preston.  It is case from cuttlefish bone and cast in silver.  It has the same “shifting sand” style pattern as the back of the one turtle. The bottom of the lid is stamped with Preston’s hallmark.

Stunning!  This is an exquisite water jar by Preston Duwyenie.  The water jar is made from micaceous clay and slipped with a micaceos clay mixed with red Santa Clara clay.  The coloration is a striking red with the sparkle of the mica. The water jar has a double shoulder and a fluted or “Rain drop” rim. The undulating shape of the rim is always technically difficult to create. The jar has six inset piece of silver, each cast from cuttlefish bone. The silver pieces are inset into the jar after the firing and represent three maidens with tablitas on their heads. The area around the silver pieces are lightly etched with additional designs.  The angles created by the shape of the jar along with the color of the clay and the complement of the mica and silver give the jar its stunning appearance!  The jar is signed on the bottom in the clay with Preston’s hallmark, which means “carried in beauty”.  There is certainly something both modern and ancient about this striking piece!   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.  He is married to pottery Debra Duwyenie and now resides at Santa Clara Pueblo.  Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.

This piece by Preston Duwyenie is made from red Hopi clay. The shape is inspired by early Sikyatki pottery with wide, low shoulders.  The body of the piece is fully polished with a matte area near the top.  The polished area is meant to represent the earth, the raised area the waters and the higher matte areas the land and mountains.  It is “the earth in balance” as all three are connected.  The bowl is rounded on the bottom and there is an acrylic base which comes with the piece to hold it steady.  The bowl is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This jar is made from a white clay which he finds near Second Mesa at Hopi.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design is carved into the clay so that it have a very natural appearance.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  Separating each of the three panels are rectangular sections, each with a single inset piece of silver, which Preston casts from cuttle-fish bone (a type of squid).  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The thin walls of the bowl, the organic feel of the shifting sand and the strength of the silver insets are perfect on this piece.  The piece is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds at Hopi.  The clay fired a tan colorattion.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has the shape of a quail.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has the shape of a road runner.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

“Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

This is a traditional ladle or spoon by Preston Duwyenie.  It is made from a red clay found near Hopi.  The entire piece is fully polished. There is an inset piece of silver on the handle. The silver is meant to represent the shifting sands found in the areas around Hopi.  The silver is cast against cuttle-fish bone (a type of squid).  The silver is inset after the firing and there is a design etched on both ends.  The ladle is signed on the back in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Congratulations to Max Early for the publication of his first book of poetry.  Max is a well known potter but also quickly become as famous for his poetry!

We currently have signed copies in the gallery!

“In Ears of Com: Listen, Native American potter and poet Max Early gracefully details both the everyday and the extraordinary moments of family and community life, work and art, sadness and celebration at the Laguna Pueblo of New Mexico.With in the four seasons-Ty’ee-Tro, Kushra-Tyee,Heyya-Ts’ee, and Kooka—the beauty of Early’s writing beckons the reader to accompany him on the journey between ancient and modern times.Including an historical Preface by the author,an Introduction by Simon J. Ortiz, and photographs of Early’s family and award-winning art, this debut poetry book is profound in its welcome and its teachings.

 ‘Early’s poems take us into the cultural continuum of a contemporary Laguna Pueblo artist. Each poem is pottery of words, complete with designs to bring rain, to remember and praise the earth and sky path we humans travel. Early’s poems are earthy, real and compelling. I keep hearing them, like songs emerging from the creative earth.”

-Joy Harjo, “Crazy Brave”, Mvskoke poet and musician

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‘We are thankful for these poems that cup us through the seasons,past the drought f a spiritual slumber. Like a weathered olla recalling the hold of cold water,we are replenished and bathed anew.We should heed our want and need to the bounty of their beauty and submit ourselves to the lessons therein. Shhh…the poems are speaking:Listen!”

-Levi Romero, “A Poetry of Remembrance and In the Gathering of Silence”, New Mexico Centennial Poet

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‘Poetry and pottery are art forms simultaneously ancient and yet made for the moment. The words flow like coils of clay to surround the reader and build a vision of the mind and soul of the poet. Potter Max Early’s poetry in ‘Ears of Corn: Listen” reveals much about life in his native Laguna Pueblo. More importantly it gives a modern voice to an ancient culture making it relevant for both a new generation and also those outside the Pueblo. The poems tell his story of how, “Breaking gender taboos didn’t turn me to stone” and the delicate balance he finds between embracing modernity and reveling in the past. The use of native Laguna words adds grace to the poems, much like a perfectly painted vessel; they lyrically draw the eye, create balance and provide a connection to the viewer. Not only is Max’s collection of poems worth a read, but a second read as well. The first time they may just seem pretty, but the second time the novelty is gone and the substance remains. Much like Max’s pottery.’
Charles S. King, Author of “Born of Fire: The Pottery of Margaret Tafoya” and “The Life and Art of Tony Da”

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Max Early was born into a tradition of potters and clay. He creates traditional pottery in order to help save the art of pottery making in Laguna Pueblo.When he began to focus on writing, he continued his passion for celebrating his family, culture, language,and the enchanting New Mexico landscape.

Honors and awards for Early in pottery include a Fellowship from the Southwestern Association for Indian Arts;a Native American Community Scholar Appointment: Office of Fellowships and Grants,Smithsonian Institution, Washington, D.C.; the Museum Guild Indian Fair & Market judge’s Award in Sculpture; the Gallup Inter-Tribal Indian Ceremonial-First in Effigies/Special Elkus Memorial Award; and the Santa Fe Indian Market-First in Traditional Pottery/Wedding Vases.

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 is inspired by an older Laguna jar with fine-line patterns.  The center of the jar has  bold geometric forms which are painted with lines.  The lines are both red and black. They are separated by cloud and mountain patterns.  The neck of the jar has cloud and rain forms along with small corn designs.  The jar is a beautiful shape with a slightly elongated neck and a rounded base. The the rounded bottom harkens back to the traditional Laguna pottery when the water jars were meant to be carried on one’s head.  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!

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!