Russell Sanchez continues to revive historic shapes with is intricate designs and complex slips. This unique box is reminiscent of the boxes from the 1920’s made at San Ildefonso Pueblo.  Boxes are always difficult to make and often crack during drying or the firing stage because of the pull against the flat walls. This box has a deer on one side and a coyote on the other.  On the opposite sides are circular medallions with black mica clay which are etched into geometric corn patterns.  They medallions are surrounded by black (jet) hei-shi beads.  The two animals have turquoise insets.  The base of the box has a “foot”, much like many of the early San Ildefonso vessels.  Here the foot is matte and etched with little dots.  It gives the piece a bit more height and there is something charming about it, especially in person.  The lid of the box has a fully polished bear with an inset piece of turquoise and etched flower designs on the corners.  The red clay used on the box is a deep red, which is the new clay Russell has been using.   It is signed on the bottom in the clay, ‘Russell Sanchez”.

Iris Nampeyo is a daughter of Fannie Nampeyo and a well known for her elegant asymmetrical vessels with corn as part of the design in relief.  Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan.  The surface of the bowl is stone polished and the corn on the front is in applique relief.  The husk of the corn is sharp and the matte area extends around to the base of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  There is a simplicity and elegance in her pottery.  While she no longer makes pottery, her vessels remain classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

Kevin Naranjo creates beautifully incised pottery with realistic scenes.  This miniature jar is amazingly intricate with designs. The rim has cloud pattern and below that is an eagle feather design.  There is a central medallion with a realistic bear. Around the side of the bowl as it is turned there is an eagle, bear paw tracks and at the very bottom an avanyu (water serpent).  To accentuate his designs Kevin creates sienna areas in contrast to the black. This highlights the rim, bear paw tracks and eagle.  The bowl itself is very highly polished which gives added dimension to the designs.  The jar is signed on the bottom in the clay.

Camille “Hisi” Nampeyo learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo.  She is known for her use of traditional imagery and the delicate painting of her designs.  This tall jar is painted with a migration pattern. This is a classic pattern which Hisi paints with numerous delicate lines.  Note the quantity of the thinly painted lines on this jar!  The black is painted with bee-weed (a plant) and the jar is traditionally fired.  It is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

Grace Medicine Flower is one of the masterful potters of Santa Clara Pueblo.  She began with sgraffito (etching) technique in her pottery around 1970 and was always creative in her forms and designs.  This is one of her distinctive large black pieces that is fully carved.  The top of the bowl has six swirling melon ribs extending downward.  The side of the bowl is fully carved with triangular and rectangular cloud patterns which circle in on themselves.  Within each of these sections there is a small area which has a carved kiva step pattern.  The entire surface of the bowl is fully polished to a high shine and fired a deep black.  It is a testament to Grace’s creativity throughout her career that each of her pieces is unique and she was always trying to expand her styles and make each piece unique.  The bowl is signed on the bottom in the clay.  It is from 1991.  It is in excellent condition with no chips, cracks, restoration or repair.  While Grace has now retired from pottery, her work remains elegant and stunning!

The is a small fully polished seedpot by Camilio Tafoya. The seedpot was made in 1975 and it is fully etched with designs.  It is polished red and on one side there is a deer who is watching the leaping field mice on the other side.  Separating the two sections are a feather pattern.  The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Tammy Garcia is known for her contemporary designs and use of traditional clay. This jar incorporates her evolving style of carving her pieces in various layers.  This jar is has a single large quail head carved on one side.  The red and tan clay slips create the various colors. The remainder of the jar has plant and dragonfly designs.  Note the small plant design on the rim of the jar and how the wings of the dragonflies curve over the shoulder!  Exceptional!  Tammy has won numerous awards for her pottery for nearly the past 30 years.  Her creative work in clay, glass and bronze is found in museums worldwide.  It is exciting to see how her contemporary work continues to move Pueblo pottery forward with it innovations.

This is a stunning and complex polychrome jar from Dolores Curran.  She continues 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 jar has incised butterfly and flower designs around the neck.   As the design gets closer to the shoulder, there are incised clouds and rain designs.  What is incised mean? Incised is just a bit deeper carving than the sgraffito or etched designs, but not as deep as carved designs.  There is a tightness and precision required of incised designs and it a skill with which Dolores excels.  Around the shoulder is a carved avanyu and below that are stylized bowls with prayer feathers.  Near the base are cloud and rain designs painted on the polished red surface.  Note even the little red-on-red dragonflies!  The design on the lid is a plant pattern and there are painted dragonfly and cloud designs on the lid.  When the lid is turned over there is an incised turtle underneath!  The entire jar combines polished, matte and micaceous surfaces.  All the colorations are from natural clay slips.  It is an extraordinary amount of time to create pieces this intricate both in design and in the various clay additions.   The jar is signed on the bottom in the clay.  Simply perfect!

Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. She learned to make pottery from Maria Martinez at San Ildefonso. This wide bowl is fully polished and painted with 53 feathers on the top of the bowl. The contrast of the matte feathers and the highly polished surface works perfectly!  The bowl is a great shape for the design as there is just a slight dip from the shoulder to the neck which gives added emphasis to the feather pattern.  The bowl is signed on the bottom in the clay “Blue Corn, San Ildefonso”.  The bowl is in good condition with no chips, cracks, restoration or repair.  There are a few light surface scratches seen in the photos.

This is a unique large figurative piece by Marie Z. Chino.  It is a chicken and note the use of her classic fineline designs which create the wings. The body and tail are painted with feather patterns.  The unique part is that the chicken is signed by Marie Z. Chino and her daughters Rose and Grace. The piece is in very good condition with no chips, cracks, restoration or repair.  It comes from the collection of Richard Spivey, known for his books on Maria Martinez.  Richard was good friends with Marie and her family and so that is probably why it is signed by all three.

This is a jar is a highly polished piece by Geri Naranjo.  She is known for her miniature pottery and intricate designs.  Here rim is matte and has been two-toned sienna. Around the shoulder are a water serpent (avanyu) and feather pattern. There is an additional cloud design near the base.  The jar is signed on the bottom in the clay, “Geri Naranjo”.  It is in excellent condition with no chips, cracks, restoration or repair.

The is a small but intricate seedpot by Camilio Tafoya. The seedpot was made in 1980’s and it is fully etched with designs.  It is polished red and the top is etched with a star pattern and four rabbits.  Rabbits were a them often used by Camilio on his pottery.  The bottom of the seedpot has a water design.  The various colors of green and white are from natural clay slips. The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a large jar by Virgil Ortiz inspired by traditional Cochiti designs. The jar has a high shoulder for the form, which works great to allow the most space for his dynamic designs.  This jar has a rainbow and cloud pattern around the neck.  Below the shoulder are classic Cochiti plant and wild spinach plant designs. Virgil has modernized them into striking graphics which somehow blend both the historic and modern into one.  The use of negative space and the cream colored clay slip as a background adds to the intensity of the black designs which are painted from the wild spinach plant!   There is a space on the rim of the neck where it is unpainted, which is the “heartline”, which Virgil always paints on his clay vessels.  The jar is signed on the bottom.

Lucy Lewis is one of the great Matriarch potters of the past century. This jar is coil built and painted using bee-weed, a plant.  The design consists of four heartline deer.  This imagery is a classic to both Acoma and Zuni pottery, with the heartline signifying the center or “heart” of the animal.  This jar is thin walled and delicately painted.  It was traditionally fired so the white has much more of a pearlescent coloration, which creates added depth.  The jar is signed on the bottom, “Lucy M. Lewis”.  It is in very good condition with no chips, cracks, restoration or repair.

This is a large double shoulder water jar by Cavan Gonzales. He is a descendant of Maria Martinez, through her son Adam Martinez.  Cavan is one of the few potters today who continues to make traditional polychrome pottery.  This jar is slipped with a cream colored clay and then painted with black and red clay slips.  The design is a rain, snow and cloud motif which encircles the jar. The rim is fluted and then painted with a red clay slip on the inside.  The jar has been traditionally fired and it is signed on the bottom in the clay.

This is a very unusual bowl by Susana Aguilar.  The piece is from the late 1920’s as it was only in 1925-6 that the potters there began making redware.  This piece is painted red-on-red and then outlined with a white clay slip.  The design is a water serpent which encircles the bowl.  There are clouds surrounding the avanyu.  The contrast of the matte red on the highly polished red works well for this bowl.  It is signed on the bottom  in the clay, “Susana”. The bowl is in good condition with no chips, cracks, restoration or repair.  There is some loss of the matte red and white on the back of the design.

San Ildefonso Pottery Innovators -1920-1940

This is a very small seedpot by Grace Medicine Flower is from 1975.  It is fully polished and etched on the entire surface.  There are two eagles as the design.  They are actually quite intricate for the size of the piece.  Note the detail in the wings and on the body!  The background matte area is also fully designed with very small circles.  The piece is signed on the bottom in the clay. It is in excellent condition with no chips,cracks restoration or repair.  It is from the collection of Richard Spivey who is known for his books on Maria Martinez.  The piece was given to him as a Christmas present by the artist in 1975.

This exceptional seedpot by Joseph Lonewolf is from 1995.  The piece is entitled, “Birds of Prey”.  It includes the story card which Joseph made for each of his miniatures.  Joseph wrote partially of this piece,

“Meticulously designed and colored to perfection are two large birds of prey, a Golden Eagle and a Bald Eagle.  Both eagles adorn the front side.  Depicted in bust form, the Golden Eagle seems to be staring at something with his sharp vision.  Portrayed in the foreground is a Bald Eagle.  Behind the eagles is a highly polished red slip that encompasses all surfaces of this pottery.  Sketched and cream colored on the back side is an open winged butterfly symbolic of beauty.  A medallion depicting a side view positioned geometric designed fish.  Directly above the winged beauty and medallioned fish is a side view open beaked eaglet depicted in bust form”

This piece is perfectly polished. This period of Joseph’s work, he would etch away the clay to create realistic animals.  On the two eagles, note the eyes and the feathers, which are very intricate for the size.  All the various colors are derived from natural clay slips.  There is a painterly style to his sgraffito designs.  The intricacy of the two birds is perfectly in contrast to the simplicity of the highly polished red clay slip.  Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  The piece is signed on the bottom and includes the signed artist card.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a creative and contemporary style bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid 1980’s, which can be seen not just in the clay colors, but also in her signature.  The bowl is one of a series she made in which she explored a variety of surface textures and techniques. This bowl is incised and has a linear mesa design carved near the rim.  Each of the rectangles are a different clay slip and are much in the style of the way Charles Loloma used angular stones in his jewelry to represent the Hopi skyline.  Below the mesas are the fields, ground, and the turquoise inset for the water.  The top of the bowl opposite the painting is etched away and textured to represent the sky.  It is an interesting and striking piece of her pottery.  Note not only the use of so many colored clays, but also the delicately painted designs on the end of the painted pattern!  Exceptional.  The black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

Elizabeth White was an aunt of noted potter Al Qoyawayma and taught him to make pottery.  She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her corrugated pieces.  I asked Al Qoyawayma why she created the corrugated surfaces and his response was,

“I think Elizabeth liked experimenting.  She used at least three kinds of textured surfaces.  The “corrugated” simulation, the “basket bowl” and of course the “simulated corn” texture.  In the basket bowl she would press the clay into the basket to get the texture of the basket and then finish with a smooth rim.”

This jar is “corrugated”, meaning that she would not smooth down the coils but would impress them with her finger or a tool to create the layered surface. The result is certainly one that almost does have a basket appearance!  This jar is also made from the traditional Hopi red clay.  It is in excellent condition with no chips, cracks, restoration or repair.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available. It is a classic of her work and an important addition to any collection! It is definitely a charming piece of her pottery!

Rubert Angea is from the Tohono O’odham tribe in southern Arizona.  His a son of Joe and Felistia Angea and his mother taught him to make pottery when he was twelve.  He is the only male potter in the family who makes pieces on a regular basis.  His sisters Gladys and Juanita also make pottery.  The Angea family began making pottery when Joe Angea of South Hickiwan married Felistia from Kaka (Quail) Village.  Felistia learned pottery making from her mother, Constance.  When Felistia moved to South Hickiwan she continued her pottery making using the local white clay.

This shape and design of this bowl represents a social round dance called, “Nawoj Hah’ah”.  It represents a social dance in which Indian and non-Indian alike are invited to participate. It has come to symbolize the strength that comes from unity of purpose in a community. First made by Rupert Angea, in the late 1970’s, they are now made by both the Angea Family and the Manuel Family of Hickiwan Village.  They are the only ones who make this type of O’odham pottery.  The clay is dug from a deposit near White Horse Pass.  The red paint is hematite and the black is from the sap of the mesquite tree, which is also a traditional food source (the seed pods, not the seeds) and provides the wood that is used to fire the pot after it has been painted.  The bowl is signed on the bottom.

These are two whimsical animal figures made by Margaret Gutierrez.  The figures are a deer and a bear.  They are painted with natural clay slips.  Both are in very good condition with no chips, cracks, restoration or repair.  They are each signed on the bottom, “Margaret”. They are from the collection of Richard Spivey and Christmas gifts to him from Margaret in 1989 and 1990.

Grace Chino was a daughter of noted potter Marie Z. Chino and a sister of noted potters Carrie Chino Charlie and Rose Chino. Over the years she won numerous awards for her pottery at Santa Fe Indian Market and her work was featured in the “7 Families in Pueblo Pottery” and in museums around the country.  This is a miniature canteen with a heartline deer on the front.  It is from the collection of Richard Spivey, known for his books on Maria Martinez.  It is in very good condition with no chips, cracks, restoration or repair.

Grace Chino was a daughter of noted potter Marie Z. Chino and a sister of noted potters Carrie Chino Charlie and Rose Chino. Over the years she won numerous awards for her pottery at Santa Fe Indian Market and her work was featured in the “7 Families in Pueblo Pottery” and in museums around the country.  This is a miniature wedding vase with a heartline deer on both sides.  It is from the collection of Richard Spivey, known for his books on Maria Martinez.  It is in very good condition with no chips, cracks, restoration or repair.

Ada Suina Suina (b. 1930) is a daughter of Berina and Eluterio Cordero sister to Stephanie C. Rhoades (Snowflake Flower). Her maternal grandmother, Estefanita Herrera, inspired her to become a potter, and her cousin, Virginia Naranjo, taught her how to make pottery.  Ada is well known for her storytellers.  She uses all natural materials and fires the figurines outdoors in the traditional manner.  This miniature storyteller is holding just one baby.  The piece is from the collection of Richard Spivey, known for his books on Maria Martinez.  The piece is signed on the bottom and has an “RS” painted into the clay on the bottom for “Richard Spivey”, as it was a gift to him from the artist.  It is in very good condition with no chips, cracks, restoration or repair.

This is one of the first pieces we have had by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large sized traditional Hopi-Tewa pottery. This wide jar is inspired by the shapes of the ancient Sikyatki pottery, with a low, wide shoulder.  The jar is stone polished and painted with a red clay slip and bee-weed (for the black).  There are four eagle tails surrounding the jar.  Note the precision of her painting and the lines in the design.  The jar is traditionally fired outside to create the blushes in coloration.  The various blushes enhance the designs and shape of the jar.  It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

This jar by Les Namingha continues his series of Zuni inspired vessels. This jar has a checkerboard pattern around the neck.  This is a corn pattern, with the asymmetrical neck.  The black lines around the side are rain patterns. The white and red bands are further textured giving the jar a unique feel.  It is a simple pattern yet works well with the shape and the coloration.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

Lucy Year Flower was known for her distinctive carved pottery.  This seedpot is very deeply carved and highly polished.  The design is a water serpent (avanyu) which is carved encircling the piece. It starts at the top and spirals around the sides.  There is wonderful intricacy in the carving and note the sun face figure as well.  Typical of her work, the background areas are also fully incised with deep lines.  On the top there are also two small inset pieces of turquoise.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed, “Lucy Year Flower” on the bottom.

Jennifer Moquino is known for her clay vessels and also her amazing animal figures! This bird figure is very highly polished and fired black. The wings and back are etched with traditional style feather patterns.   All the various colors are derived from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!

The is a classic miniature by Camilio Tafoya. The seedpot is incised with Mimbres inspired hummingbirds as the design.  Note on the top of the piece there is a single Mimbres bee! The seedpot has an unusual form but one which is certainly recognizable as Camilio’s.  There are additional clay slips used to create the various colors.  The seedpot is from 1982 and it is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Rose Williams (1915-2015) wass one of the great matriarchs of Navajo pottery.  Shew as from the Shonto/Cow Springs area of the Navajo Reservation.  Rose was an adult when she learned to make pottery, but continued doing so for over three decades.  Her children, Alice Cling, Sue Ann Williams, and Susie Williams Crank, and her daughter-in-law, Lorraine Williams, are all recognized potters.  The Lók’aa’dine’é Clan (Reed People) in the Shonto/Cow Springs area has long been recognized for its pottery making, and many of the present-day potters or their spouses—Silas Claw, Faye Tso, Rose Williams, and Alice Cling—are members of this clan.  This is an exceptionally large piece of her pottery in collaboration with her daughter, Susie Willams Crank.  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.

Jason Garcia has a unique ability to combine Comic book and Pueblo imagery on his pottery.  This jar is coil built and painted with native clay slips.  The design starts with his father reading one of the “Tewa Tales of Suspense” comic books.  In the background is the kiva ladder and the rain clouds.  As the jar is turned there is imagery of Thor and Loki.  The figures are then re-imagined with the two Pueblo warriors in then next section. Note the complexity of the painting on the figures,t he ground and the clouds!  Jason fills his work with such fascinating symbolism and relevance to his own family life.   All the colors are derived from natural clay slips and the jar has been traditionally fired.  Jason manages to bring together so many aspects of Pueblo art and culture, it keeps his work fresh and relevant!

This jar Virgil Ortiz is part of his “Modernly Ancestral” series.  It continues his story about the Pueblo Revolt 1680/2180.  The jar is beautifully constructed and is an unusual shape with the single spout.  There are Stargazer figures on either side and wildflower patterns near the spout.   The use of the figure and face continues a stylistic component Virgil has used for the past decade.   The jar has the “spirit line” which is a break in the painting on the rim.  It has been traditionally fired and uses native clay, native clay slips and wild spinach (the black).  Virgil certainly continues to be a great innovator among the Pueblo potters!

Helen Shupla is certainly most famous for her exceptional melon jars.  Her melon jars are the very traditional form with the ribs pushed out in the clay.  This melon jar is one of her classic shapes with the round body and the slight neck.  The neck was a later development in her pottery forms.  Each of the 17 ribs are pushed out into the clay.  She would do this by placing her fingers inside the bowl and pushing against the clay from both the inside and outside!  Can you see the slight angle to each section?  This is how she would turn her hand as she was pushing against the clay to create the separate ribs!  The entire piece is fully polished and fired black.  It is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design.  As she primarily made the pottery and polished it this was fitting with the other pieces of her career.  This wide bowl is very highly polished.  It is fired a dark black but with a slivery surface in the light.  The bowl is signed in the clay, “Maria Poveka”.  This is a combination of her Anglo and Tewa names.  Her name, “Poveka” means “Water Lilly”.  It is in very good condition with no chips, cracks, restoration or repair.

Anita Suazo is a daughter of noted potter Belen Tapia.  This is one of her traditional vessels with deeply carved designs.  There is an avanyu deeply carved into the clay and the bowl is stone polished. The background is a cream colored clay.  The bowl is in very good condition and signed on the bottom.  It is from the collection of Richard Spivey, who wrote the books on Maria Martinez. This bowl was given to him and Lynne for their wedding in 1979.

This is a round bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is an unusual shape being circular. The bowl is painted with a circle and wind pattern.  It is from around 1926 and the tag on the bottom indicates it was from the Indian Market of that time.  The tags with the red border were put on the bottom, with the artist’s name and a number. This piece was #199 and these can actually be found in the ledgers from the Indian Market!  It is amazing that piece like this can survive in such great condition for so long, and have such an important historic provenance.  It is in very good condition with no chips, cracks, restoration or repair.

Click here for more information on the Early San Ildefonso Innovators!

Russell Sanchez is known for his ability to take traditional San Ildefonso forms and designs, and revise them into a more modern appearance.  This jar was fired to nearly a gunmetal metallic appearance.  After the firing, Russell “two toned” the jar to give the top half a sienna coloration. This is achieved by burning off the black to return the clay to its natural color. The bottom of the jar remains gunmetal in appearance.  The jar is etched with a water serpent (avanyu) encircling the shoulder. There are three bands of turquoise hei-shi beads around the shoulder and a single inset of jet for the eye.  The lid is gunmetal in appearance as well, and two-toned on the finial and then inset with a piece of turquoise on each side.  It is an elegant balance of form, design and color.  The jar is signed on the bottom in the clay.  Russell has won numerous awards for his pottery and in 2017 was awarded the prestigious New Mexico Governor’s Award for the Arts.

While Nancy Youngblood is known for her swirl melon bowls and carved pottery, she started out her career making miniatures.  This miniature is from 1978 which makes it a very early piece of her pottery!  It is a miniature water jar and it is fully polished.  There is a double shoulder.  The jar has been stone polished a glass like appearance.  The jar is painted with a water serpent around the body of the piece.  The painting is crisp and a striking contrast to the polished surface.  Note as well the complexity of the design, with all the edges and loops in the pattern!  In the photos the painted line gets distorted with the reflections of the light, but it is a perfect consistency all the way around. The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Nancy Yellow Aspen Youngblood “.

This is a classic round shape jar by Samuel Manymules.  It is coil built and slipped with a red clay and then traditionally fired.  The jar has the faceted sharp ribs extending from the base to the neck. It is the coloration on the jar which is so visually striking.  It ranges from deep red to deep black in areas.  The color is created by the traditional outdoor firing.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

This amazing miniature bowl by Nancy Youngblood is from 1982.  While it is small, it is very deeply carved into the clay.  The bowl as 22 carved feathers around the top of the piece. Around the shoulder is a very deeply carved avanyu (water serpent).  Take a closer look at how deeply it is carved, it is astounding!  The mini lid is perfectly in the opening.  The bowl is highly polished to a stunning shine. It is in perfect condition, with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Nancy Youngblood Cutler”.

Stunning!  This large water jar by Jason Ebelacker is an extraordinary vessel, which finds its reference in a very historical form. There are classic Santa Clara jars made by Jason’s great-great grandmother SaraFina Tafoya, which had a rounded shoulder and a fluted or “raindrop” rim.  Here the jar extends up to a round shoulder and then as it turns inward there is a sharp edge and a drop down before the neck.  It can slightly be seen in the photos but it is more a part of the jar to be felt.  It is also technically a more difficult detail in a water jar, as there is additional risk that it could crack when drying.  The jar then has a fluted or “raindrop” rim. It was a called such as it looked as if a raindrop had fallen into a puddle!  This jar is stone polished and the surface is stunning, as the entire piece has to be polished at one time.  Note the polishing and how the rim is reflected in the shoulder of the jar!  The time to polish the various angles of the jar and achieve such a dynamic polish is something few potters are able to achieve today.  The jar is traditionally fired outdoors and it is a deep black in coloration. Jason is a son of noted potter Richard Ebelacker and grandson of Virginia Ebelacker.  Jason has won numerous awards for his pottery and continues to be one of the important younger potters to watch.  Pottery at this level of creativity and quality are certainly a reflection of both his talent and the future!

This is a classic red-on-red and white jar by Tonita Roybal.  This pieces is from the 1930’s and it was made and polished by Tonita and painted by her husband Juan. The jar is a deep red coloration and the design is painted with a red clay slip, creating the red-on-red style.  There are areas which are highlighted with an additional white clay slip.  The design is a mountain pattern, with rain, snow and cloud designs.  It is an interesting combination of design patterns which encircles the piece.  Juan Cruz Roybal was known as one of the masterful pottery painters and one of the “signatures” of his work was the use of the white clay slip.  Here he has used it as an accent to the design in the little “dots”.  The result is a piece that seems to fit somewhere between art deco, moodernism and traditionalist designs.  Extraordinary!  The jar is signed on the bottom in the clay, “Tonita + Juan”.  It is in good condition with no chips, cracks, restoration or repair.

Click here to read more about the “Early San Ildefonso Innovators”

Harrison Begay, Jr. has won numerous awards over the years for his deep carved pottery.  This larger jar is fully carved and has a wide shoulder and fully polished rim.  The jar has a more realistic style Yei figure on one side with a feather headdress and wearing a blanket.  As the jar is turned there is a section with corn, stars and dragonflies. Separating these sections are various cloud, rain and geometric symbols.  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.  The jar is very highly polished, so that there is a strong visual distinction between the matte and polished surface.  The jar is signed on the bottom in the clay.

While living at Santa Clara Pueblo, Harrison Begay, Jr. learned to make Santa Clara style carved and polished pottery.  This jar is carved with hummingbirds and flowers as the design.  Each hummingbird is distinctive and has a different flower beside them. There are additional cloud and wind designs separating the birds.  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.  This jar has been fired brown, so there are some striking color variations as the piece is turned. This firing has created a darker brown coloration, which gives added contrast to the carving!  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.

This is a mudhead clown storyteller Margaret and Luther Gutierrez.  The figure was made by Margaret and painted by her brother, Luther. Their storytellers were typically either mudheads, koshari clowns or human figures.  Here, it is a red muhead holding two baby mudheads.  The “mudhead” katsina is so called from the mask it wears, which is often covered with mud.  The one baby figure on the right is polychrome, while the one on the left is removable and it is painted green.  All the various colors are derived from natural clay slips.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Margaret/Luther”.  It is from the collection of Richard Spivey.

This is a sitting turtle Margaret and Luther Gutierrez.  The figure was made by Margaret and painted by her brother, Luther. Typical of their turtles, the face is whimsical. The front has an insect design while the back “shell” is carved and has four images ranging from insects to birds.  All the various colors are derived from natural clay slips.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Margaret/Luther”.  It is from the collection of Richard Spivey and was a Christmas gift to him from Margaret & Luther in 1971.

This is a stunning water jar by Juanita Pena. The jar is an elegant shape with a slightly turned in neck.  The jar is painted with small clouds and rain motifs. There are lots of fine lines and swirls. The jar has been fired to a glassy gunmetal appearance.  The jar is in very good condition with  no cracks, restoration or repair.  It is signed on the bottom in the clay, “Juanita”.   Juanita created some truly exceptional early pottery with innovative designs, great condition and a wonderful history.

Madeline Sayneyha is a cousin of potter Mark Tahbo.  In the 1990’s she began making elegant pottery.  Each piece was coil built, painted with native clay slips and traditionally fired.  She was quickly known for her thin painted lines and dynamic firing. This bowl is painted with a mountain and wind design around the shoulder of the piece.  The entire bowl is fully polished, even  on the inside!  The bowl is traditionally fired to create the fire clouds.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Red Starr (Sioux) was married to Santa Clara potter Harriet Tafoya and learned to make Santa Clara pottery.  This miniature seedpot is highly polished and fired black.  It has a complex design with howling coyotes on one side, an arrowhead with a coral insert and a series of prayer feathers with a turquoise insert.   The bowl is in excellent condition with no chips, cracks, restoration or repair.  It 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 seedpot is fully polished and etched with fish as the design.  There are three fish on one side, four on the other and they are separated by a geometric water design. The seedpot is signed, “Dolly” on the bottom in the clay.

This jar by Fannie Nampeyo is a classic form.  It has a wide shoulder and a slightly turned out neck.  The design is a bird migration pattern which is fully painted.  The design flows around the surface of the entire jar. The bird wings can be seen in the area below the shoulder. The bowl has been traditionally fired and there are colorations to the clay surface.  It is in very good condition with  no  chips, cracks, restoration or repair. It is signed on the bottom, “Fannie Nampeyo” and a corn plant, signifying that she was Corn Clan.

This is an exceptional large jar by Daniel Begay. He learned to make pottery from his father, Harrison Begay, Jr..  Each piece is coil built, carved, stone polished and traditionally fired.  Daniel has created a distinctive style of carving, similar to that of his father, yet with more angular and graphic designs. This jar is carved with stylized Yei figures on two sides.  The figures are carved in a spiral with the mask and feather and blanket.  Separating each of the figures are large and small star patterns.  There is a striking contrast between the polished and matte surfaces, which adds to the sophistication of the imagery. Note how Daniel’s designs combine both thin and thicker lines to enhance the imagery.  The style of carving has a beveled appearance to the angle of the cuts into the clay.  The jar is signed on the bottom in the clay.

This is one of the largest collaborative pieces we have had by Elizabeth and Marcellus Medina.  Elizabeth is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This jar was made by Elizabeth and painted by her husband, Marcellus Medina.  The jar has a series of birds around the base of the piece.  Each bird is different in style and wings.  Around the neck of the jar are a series of cloud and rain designs. All the colorations are derived from natural clay slips.  The red areas are stone polished in contrast to the matte painted sections. The top of the lid is polished red and there is an added turtle. The top of the turtle has flowers and a bird as the design.  The tan clay used on the bird on the lid is also polished.    The jar is signed on the bottom “Elizabeth + Marcellus Medina, Zia”.

Daniel Begay learned to make pottery from his father, Harrison Begay, Jr..  Each piece is coil built, carved, stone polished and traditionally fired.  Daniel has created a distinctive style of carving, similar to that of his father, yet with more angular and graphic designs. This jar is carved with two turtles as the design.  The back of each turtle has a different design.  Separating the two turtles are bands of cloud and water designs.  Note how Daniel’s designs combine both thin and thicker lines to enhance the imagery.  The style of carving has a beveled appearance to the angle of the cuts into the clay.  The jar is very highly polished, so that there is a strong visual distinction between the matte and polished surface.  The jar is signed on the bottom in the clay.

This is a delicately painted jar by Franklin Peters.  He is known for his thin walled pottery and use of traditional Acoma imagery on his pottery. The jar is coil built with native clay and painted with native slips. The design has clouds across the shoulder in half-circles.  Below the shoulder are fineline rain, cloud and bird patterns.  The black and white contrasting colorations give the jar a very modern appearance.  There is also an indented base which is reminiscent of historic Acoma pottery.  It is signed on the bottom.

Sofia Medina was known for traditional style of Zia pottery.  Each piece was coil built, painted with native clays and native fired.  This is an exceptional piece of her pottery in both form and design.  The jar has a carved rim with a lightning shape to the edge. Below the carved rim is a prayer feather design. On either side are Zia style birds. One is red while the other is black.  On the opposite side is a single  bird under a red rainbow.  The rainbow is polished red slip. There are polished brown areas on either side of the bird and the rainbow.  The painting of the black has fine line rain patterns and additional cloud imagery across the surface of the piece.  The contrast of the lines, polished and matte designs works perfectly on this piece.  The large size and the unique opening are also striking. The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the side, “Sofia Medina”.

This is a striking long neck jar by Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery.  This form is one of her classic shape with an elongated neck and a sharp shoulder.  There is a cloud design around the neck and it is fully polished.  The area below is matte while the avanyu (water serpent), which is carved around the shoulder, is also highly polished.  The jar is fired to a very high shine, so that there is a striking contrast to the matte and polished areas.  The high shine can be especially seen below the shoulder, where there are areas which are gunmetal (almost a metallic in appearance).  The jar is from the 1970’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.  Rose’s legacy and influence can certainly be seen in the work of Tse-Pe, Dora Tse-Pe and Russell Sanchez.

Elizabeth Medina is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This jar is painted in a traditional style with a bird or roadrunner on each side.  The bodies of the birds are stone polished.  There is a rainbow band over each of the birds.  The red and tan parts of the rainbow are fully polished, as is the body of the bird. On one side the wings and tail feathers of the bird are also stone polished.  Separating the rainbow sections are smaller birds and cloud patterns.  The jar is complex with the variations of matte and polished surfaces.  The top of the lid is polished red while the turtle is added and slipped tan.  There is a polished and painted bird and flowers on the top.  The jar is signed on the side “Elizabeth Medina, Zia.

John Aragon is known for his use of Mimbres imagery on his pottery.  This bowl is very tightly painted with various Mimbres animals across the entire surface!  There are insects, animals, fish, turtles, and on and on!  There are two “spirit animals” on the bowl, which are just outlined and not filled in. They are a rabbit and fish.  John has an amazing ability to fit so many images onto one piece and still have it look cohesive! The bowl is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

Lucy Lewis is one of the great Matriarch potters of the past century. This bowl uses more classic style Acoma imagery. It has the rain (lines), lightning and cloud (black triangular areas) patterns encircling the bowl.  It has been native fired and has a beautiful coloration to the white clay slip.  It is signed on the bottom, “Lucy M. Lewis”.  The black for the design is derived from bee-weed, which is a local plant. It is in very good condition with no chips, cracks, restoration or repair.

Judy Lewis is a sister of noted potters Rebecca Lucario, Carolyn Concho and Marylyn Henderson Ray.  She is known for her figurative pottery.  This is one of her storyteller figures. The storyteller has two kids and she is holding an open bowl with a lizard and ladybug inside.  There is a bird on her foot and another ladybug on her hair.  Note the wonderful detail on her dress, belt and hair.  There is a wonderful charm about the painting on Judy’s pottery.

Elizabeth Medina is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This jar was made by Elizabeth and painted by her husband, Marcellus Medina.  The jar has birds on two of the sides.  Each bird is surrounded by flowers and rain designs.  The red clay slip on the body of the bird is stone polished.  Separating the birds are butterflies. Each butterfly is different with the designs on the wings and delicately painted by Marcellus.  He is known for his more realistic style of painting.  The top of the lid is polished red and there is an added turtle. The top of the turtle has flowers and a bird as the design.   The jar is signed on the side “Elizabeth + Marcellus Medina, Zia”.

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 polychrome pieces.  It is polished on the surface and painted with red and black clay slips for the bugs, birds and fish.  On the top of the bowl she has inserted a lighter.  This was not unexpected of pieces from the 1950’s to the 1970’s.  This piece was made as a Christmas gift to Richard Spivey in 1972.  The bowl was signed in the clay on the bottom, “Blue Corn”.   It is in very good condition with no chips, cracks, restoration or repair.  The “striker” can be removed, although the silver inset that holds it is glued into the piece.  I kept the striker with the piece, as it makes for a more interesting part of the history of this piece.

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 polychrome pieces.  It is a tan color clay and has a feather pattern painted around the body of the piece.  It appears to have a bit of a dark coloration from the smoke.  The piece was made as gift to Richard Spivey.  It is signed in the clay on the back, “Blue Corn”.   It is in good condition with no chips, cracks, restoration or repair.

This is a traditional bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid 1980’s, which can be see in the color of the red clay, as well as her signature.  The bowl has a series of Red Tail hawk tail feathers painted in four sections.  Separating each of them is a triangular design, which represents the back and wings of the birds.  The red areas are stone polished and the black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

This jar by Vernida Polacca is an elegant shape with a round body and a slightly turned out neck. Vernida is a granddaughter of Fannie Nampeyo.  This jar is delicately painted with a migration pattern as the design.  Note the precision of Verndia’s painting and all the fine lines which flow across the surface of this thin walled jar.  The jar is painted with bee-weed (black) and a red clay slip.   It has been traditionally fired for the blushes on the surface.  The jar is signed on the bottom.

This is a large water jar by Cavan Gonzales. He is a descendant of Maria Martinez, through her son Adam Martinez.  Cavan is one of the few potters today who continues to make traditional polychrome pottery.  This jar is painted black-on-tan above the shoulder with a plant design.  There are cloud and rain patterns also in black.  Below the shoulder the jar is polished to a high shine.  There are etched cloud, rain and plant patterns in the red area.  There are coral insets around the neck of the jar and a band of hei-shi beads around the shoulder.  Below the shoulder in the red polished area there are inset turquoise stones connected with each of the etched designs.  The jar has been traditionally fired and it is signed on the bottom in the clay.

Calvin Analla learned to  make pottery from his sister, Yvonne Lucas and her husband, Steve Lucas.  This large water jar is thin walled and made with the traditional red clay from Laguna Pueblo. The jar is painted with bee-weed, into which he has mixed some mica.  The mica makes reflections in the clay.  Calvin is known for his very delicately painted designs.  This jar has cloud designs above the shoulder and plant designs below.  The thin lines painted with the bee-weed show create a striking contrast with the red clay.  It is signed on the bottom.

Tena Garcia is a daughter of Rose Chino  Garcia and a granddaughter of noted potter Marie Z. Chino. This small seedpot has a stylized version of the red and white plant/butterfly design made famous by Marie Z. Chion. The seedpot has a flat for and the design is painted on the top.  It is in excellent condition with no chips, cracks, restoration or repair.  The bowl comes to us from the collection of Richard Spivey.

This group of four animals are by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, would paint them.  There is a raccoon, bear, duck and pig.  Each is painted with various designs.  All the various colors are derived from natural clay slips.  They are each in very good condition with no chips, cracks, restoration or repair.  They are signed on the bottom, “Margaret/Luther”.   All three are from the collection of Richard Spivey, known for his books on Maria Martinez.  The tag on the bottom is his inventory numbering system.

This group of three turtles are by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, would paint them.  The largest and smallest of the turtles are by Margaret & Luther. The medium sized turtle  is just by Margaret.  They are each painted with a design on their back.  All the various colors are derived from natural clay slips.  They are each in very good condition with no chips, cracks, restoration or repair.  They are signed on the bottom, “Margaret/Luther” or “Margaret”.   All three are from the collection of Richard Spivey, known for his books on Maria Martinez.  The tag on the bottom is his inventory numbering system.

This double lobed bowl is by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, would paint them.  This jar is a smaller version of their larger canteen/double lobed jar for which they were famous.  This piece has ants or insets painted encircling the piece.   All the various colors are derived from natural clay slips.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Margaret/Luther”.  It is from the collection of Richard Spivey, known for his books on Maria Martinez.  The tag on the bottom is his inventory numbering system.

Helen Shupla is famous for her carved pottery as well as her exceptional melon jars.  This is one of her few black-on-black painted pieces.  The plate is fully polished and has an avanyu (water serpent) painted as the design.  Note the head of the avanyu is in the lower left of the photo.  The avanyu has a more stylized appearance on this piece.  The intricate painting is a striking contrast to the highly polished surface. It is signed on the back in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

This is one of the largest fully designed pieces we have had by Johnathan Naranjo.  The bowl is fully polished and the designs are etched into the clay.  Johnathan says of this bowl:

As the end of Summer approaches, I looked back at my time spent in the mountains during the warmest months. I thought it fun to design some stories where family or I had lived. To the left is a trout leaping out of the water for its food. While fly fishing in Chama NM, I witnessed a fish jump out of the water three times in a row. The third jump was so close to me, I bet I could have taken off my hat and caught myself dinner if I wasn’t so shocked. Stunned because I had never witnessed it before, I also felt taunted by the fish with a fly rod in my hands. The mountain lion to the right was an encounter my uncle had during his evening run descending Puyé Cliffs in Santa Clara Pueblo. 45 feet away from him was a mountain lion yet to notice him near the road. Cautiously my uncle turned back to avoid an encounter with thoughts of flagging a vehicle down. With no car in sight, he turned back to see the lion again and it was gone.

To the left is an image of a hawk catching a fish using the most primal of methods. My grandfather and I were sitting
in a canoe on the lake of Santa Cruz one evening and I was recording our fishing expedition when he asked me how to zoom in with my camera phone. I demonstrated by pinching my two fingers open on my phone’s screen and told him “look gramps, I will zoom in on this hawk flying above us”. Right at that moment, the large bird suddenly stopped and dropped right into a spiraling freefall splashing into the lake. After a short struggle the raptor regained it’s composure and continued to fly on by us. Upon further review and using close up imagery, sure enough there was a fish in the grasp of it’s talons. The irony of a hawk catching our fish and showing us how fishing is REALLY done was too awesome to ingore. To the right is a New Mexico black bear in a patch of raspberry bushes. When trekking in the mountains it’s important to remember that we share this beautiful world with other animals that are much larger than us. My family and I have had multiple encounters with bears living in Northern NM. Although most likely to flee, there is always a risk of curiosity or aggression. My grandmother always told me to be careful when picking raspberries because that’s where the bears like to be. So I thought it would be great to design some of the mountains most amazing creatures.”

The bowl is fully polished and each of the sections is etched with a different animal scene as described above.  Johnathan etches into the clay at varying depths to create his designs.  The lighter etching is more red while the deeper is tan.  There is a difficulty is just etching away the polished surface to create the light red coloration.  Separating each of the animals is an eternity design, which again appears around the shoulder of the piece.  On the highly polished base there are additional light red etched eternity designs.  The highly polished bowl is perfect to reflect the delicate imagery.   It is traditionally fired, which gives it the distinctive coloration.  It is signed on the bottom in the clay.  Johnathan has won numerous awards for his pottery and  Johnathan is definitely one of the young potters to watch!