Maria Martinez Black-on-black Wedding Vessel signed Marie

This magnificent wedding vessel is an exceptionally rare form within the oeuvre of the renowned San Ildefonso Pueblo artist, Maria Martinez (Poveka, 1887-1980). Based on decades of observation, the wedding vessel is among the least frequently encountered shapes created by Maria.

This specific wedding vase bears the simple signature Marie, a crucial detail that precisely dates its creation to the very early 1920s, likely 1923-1924. This period marks the beginning of Maria's signature practice. Maria initially did not sign her pottery, partly due to the traditional Pueblo cultural emphasis on communal anonymity and avoiding individual fame. However, growing demand for her revolutionary Black-on-black ware prompted staff members at the Museum of New Mexico to encourage her to sign her pieces for identification and authenticity.

The earliest signature, beginning around 1923, was the simple, Anglicized "Marie". During this period, Maria's husband, Julian Martinez (1879-1943), painted the beautiful designs, as he did on this vase. However, his name was not yet included on the vessel. This omission reflects the traditional view that pottery creation was primarily considered "woman's work."

The name, "Julian," was added to the signature (making it "Marie + Julian") starting around 1925, following further encouragement from scholars like Kenneth Chapman.

As Maria's international popularity blossomed, the creation of her pottery evolved into a family affair, a common practice for preserving traditional crafts. Julian continued to paint the exquisite designs and assist with the crucial firing process. Maria's youngest sister, Clara Montoya (who was deaf), became an integral part of the process, specializing in the time-intensive polishing (burnishing) of the pottery, for which Maria assumed responsibility for her care.

The Signature Variation: The early signature variations, including some pieces being signed for Maria by other family members like Clara, or later by daughter-in-law Santana, occurred because the signature had to be affixed while the clay was still moist. Signing during the polishing stage was the most logical point, leading to slight inconsistencies in the handwritten "Marie" before a formalized signature was adopted later in her career.

Condition: very good condition with some abrasions on the underside of the vessel body, below the design panel.

Provenance: this Maria Martinez Black-on-black Wedding Vessel signed Marie is from the collection of the family to whom we sold this in 2016

Reference and Recommended Reading: The Legacy of Maria Poveka Martinez by Richard Spivey

TAGS: Julian Martinez, Mimbres, Maria, pottery, Santana, Southwest Indian Pottery, San Ildefonso Pueblo, Contemporary Pottery