Very Large Hopi Pueblo Polychrome Pictorial Storage Jar - 25994

Posted by Adobe Gallery Team Member on Thu, Aug 3rd 2017, 14:51

When a magnificent Hopi jar surfaces, the temptation is to try to assign the name of the maker. Most often, there are clues that lead one to select a maker-clues such as vessel shape, certain design elements, and age, perhaps-but it is not always so clear cut. When this jar came to us, our first guess was that it could have been made by Daisy Hooee Nampeyo (1920-1990), daughter of Annie Healing Nampeyo and granddaughter of Nampeyo, however we now believe it dates too early to have been made by her.

Part of the A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo exhibit.

Would you like to purchase or read more about this Hopi Pueblo Pottery?

Hopi-Tewa Very Large Polychrome Seed Jar by Grace Chapella - C3960C

Posted by Adobe Gallery Team Member on Thu, Aug 3rd 2017, 14:01

Grace Chapella was born in the Tewa village of Hano at First Mesa on the Hopi Reservation in 1874, eight years before the Reservation was established as such, and before Custer's Last Stand at the Battle of the Little Big Horn. She witnessed the first "horseless carriage" arrive on the Reservation and recalled how frightening it was. In 1927, she became the first person from the Hopi Reservation to fly in an airplane, going from Grand Canyon to Long Beach for a pottery demonstration.

Having lived for over a century-she passed away at age 107-Chapella (pronounced Tsepela) witnessed many changes in her life at Hopi where she lived. She was a youngster at a time before trading posts and tourists were introduced to the reservation and lived to see both flourish and the demand for pottery grow at leaps and bounds. Although her pottery, and that of others at First Mesa, is referred to as Hopi pottery, technically it is Hopi-Tewa potteryas the residents of Hano Village at First Mesa are Tewa-speaking Indians originally from New Mexico.

Part of the A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo exhibit.

Would like to purchase or read more about this Chapella pttery?

Best of Santa Fe 2017

Sikyatki-style Contemporary Hopi Pueblo Seed Jar by Garnet Pavatea - C3960B

Posted by Adobe Gallery Team Member on Tue, Aug 1st 2017, 19:20

Garnet Pavatea was known as Flower Girl and she was a Hopi-Tewa from the Tewa Village on First Mesa. Her dad, Dewakuku, was Hopi and her mother was Tewa. Following tradition, Garnet was of her mother's clan.

This seed jar of the Sikyatki-shape is a shining example of her expert craftsmanship in vessel construction and her artistic talent in designing and painting a jar. She extended the red paint on the rim down into the interior of the jar, a step not necessary, but one that demonstrates her attention to detail. The jar was constructed from all native materials and fired in a traditional outdoor firing. It is signed Garnet Pavatea on the underside.

Part of the A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo exhibit.

To purchase or read more about this Nampeyo pottery.

Tall Hopi Pueblo Cylinder with Clay Appliqué at Rim by Nampeyo of Hano - C3960A

Posted by Adobe Gallery Team Member on Tue, Aug 1st 2017, 18:51

In the 1900-1910 periods, Nampeyo was potting at her prime. She was creative and continually improvising more varied work than in any earlier or later period. By the 1910 decade, she was producing for a collector market and was producing outstanding quality but with less improvisation. By the 1930s, she was producing more tactile work as her eyesight was failing.

Sometime in the late 1800s, Nampeyo sometimes added a row or rows of clay appliqué to her pottery. There is one in the Milwaukee Museum with a collection date of 1895. This magnificent very large cylindrical jar features such a ring of clay near the rim. It is typical of Nampeyo's construction, as she is known for introducing the tall shapes.

Part of the A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo exhibit.

To purchase or read more about this Nampeyo pottery.

A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo Exhibit

Posted by Adobe Gallery Team Member on Sat, Jul 29th 2017, 16:24

Adobe Gallery's special exhibit "A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo" will open Monday, August 7, with reception at 221 Canyon Road from 5 to 7pm.

Legendary Hopi matriarch Nampeyo of Hano used designs created by her prehistoric ancestors to bring Hopi pottery to the masses in the early 1900s. Today, Hopi potters like Mark Tahbo use Nampeyo's designs as inspiration for their new works. This exhibit, which features works by both of these potters and many others who produced between them, will showcase the ways that today's artists continue to be influenced by those of yesteryear.

With this exhibit, we wish to shine a light on the link between New Mexico Pueblo Indians and the pottery being produced today at Hopi. The majority of the potters whose works we feature in this exhibit are Hopi-Tewa people-the descendants of those who migrated to Hopi from New Mexico's Tano Pueblo in the 1690s.

Would you like to purchase or view the show?

Santa Clara Pueblo Copper Plate Etching “The Healers” by Helen Hardin - C3943C

Posted by Adobe Gallery Team Member on Fri, Jul 21st 2017, 14:18

Tewa Pueblo legend states that bears have the power to heal. They are considered medicine men. Santa Clara Pueblo artist Helen Harden drew three arched bears in this etching for which she named it "The Healers." The bears are in the curved style made famous by San Ildefonso potter, Tony Da. Each bear stands on a triangular pedestal.

Would you like to purchase or read more about this etching?

Most Unusual Hopi Pueblo Jar by Nampeyo of Hano - C3942B

Posted by Adobe Gallery Team Member on Fri, Jul 21st 2017, 13:33

This jar shape is not what one normally associates with Hopi potters, yet there are jars in the Museum of Northern Arizona with similar shapes, both historic and contemporary. We just are not familiar with seeing such on a regular basis. It might be classified as a small storage jar. It has a rounded base like those of storage jars.

The bird flying on the neck of the jar has a rather squared off beak, which is not what we associate with Hopi birds but "There are a few odd bird heads on Nampeyo jars at the Museum of Northern Arizona." Personal note from Dr. Ed Wade. The polka-dot element below the bird's eye and the dark brown stepped cloud are most unusual elements on a bird's head.

Would like to purchase or read more about this Nampeyo pottery?

Hopi Pueblo Heheya Aumutaka Katsina Doll signed Mike - C3383ZK

Posted by Adobe Gallery Team Member on Thu, Jul 20th 2017, 15:30

According to Barton Wright, Heheya Aumutaka means "like Heheya" and this version of Heheya appears only on Third Mesa. Other versions appear on First and Second Mesas. He is a relative of the Ogres, although he himself is not an Ogre. The interesting thing about this Katsina is that he speaks the opposite of what he means. If he says something is "good," he means it is "bad." Formerly he accompanied the Soyoko when they appeared on Third Mesa but since the Soyoko no longer come, his role is shifting to that of a general Powamu Katsina.

Would you like to purchase or read more about this Katsina?

#adobegallery #HopiPueblo #Katsina #Kachina # #Doll #SouthwestIndianArt #PuebloArt #SantaFeNM

Historic Kewa (Santo Domingo) Pueblo Decorated Deep Serving Bowl - C3924K

Posted by Adobe Gallery Team Member on Tue, Jul 18th 2017, 16:48

Kewa Pueblo food bowls assume the most beautiful patina from daily use. The cream slip with which they are coated absorbs the oils from foods and then turns a beautiful brown with an added sheen. Not only is the interior enhanced with an outstanding patina, the exterior assumes a patina from the hands of the handler. This one is no exception. It is the size bowl used for serving food at the table, not for eating from. This size is also used for preparation of bread dough when only a small amount of bread is being prepared.

Would you like to purchase or read more about this pottery?

#adobegallery #SouthwestIndianPottery #KewaPueblo #KewaPottery #PuebloPottery #SouthwestIndianArt #SantaFePottery #FinePuebloPottery #HistoricPottery

Hopi Pueblo Seed Jar with Migration Pattern by Fannie Nampeyo - C3924Z

Posted by Adobe Gallery Team Member on Tue, Jul 18th 2017, 16:02

Fannie won her first Blue Ribbon in 1961 from the Museum of Northern Arizona at the annual Hopi Show. Her pottery was selected for several museum exhibits in the 1990s. Since she was the youngest daughter of Nampeyo and Lesou, she was better known, personally, by many collectors, most of whom never met Annie or Nellie. She was still actively making pottery in the mid-1980s.

One of Fannie's favorite designs was the migration pattern-supposedly delineating the migration of the Hopi people through four worlds. Whether it was her favorite or whether she produced it because it was collectors' favorite is unknown, but it is the one she seems to have made more often.

Would you like to purchase or read more about this pottery?

Pictorial Design Bowl from the Hopi Mesas - C3925D

Posted by Adobe Gallery Team Member on Tue, Jul 18th 2017, 13:03

Before 1900, bowls such as this were routinely made for food. It would not have been decorated on the interior, however. After 1900, potters were encouraged by traders Thomas Keam and Lorenzo Hubbell to produce products for sale. Pictorial designs were particularly desirable as tourists were likely to prefer those over geometric designs.

Would like to purchase our read more about this pottery?

Hopi-Tewa Nampeyo of Hano Jar with Hopi Village Label - C3924C

Posted by Adobe Gallery Team Member on Mon, Jul 17th 2017, 18:59

"Nequatewa states in his biography of Nampeyo that 'when she became a young maiden she was as good a potter as any in Walpi, and she did all the decorating for the old lady, her father's mother, a Tewa lady and her teacher, as she had become a good pottery designer.' He went on to say that 'when the stores were established on the reservation by the white traders, she was doing a good deal of pottery work, so that when the stores began to trade for pottery, her work was among the best, and she was getting good prices.'" Allen, 1984:21

By 1900, the Polacca Polychrome pottery of the past was no longer being made, instead what replaced it was a yellow ware with black and red painted designs, with a slip that did not crackle like the Polacca slip. It was then that Nampeyo was encouraged to reproduce pottery of the style being excavated. She, instead, used those excavated ceramics as inspiration for her work. She was not interested in copying others.

Would like to purchase or read more about this pottery?

Hopi Pueblo Seed Jar with Whirling Log Design by Nampeyo of Hano - C3944

Posted by Adobe Gallery Team Member on Fri, Jul 14th 2017, 15:15

Nampeyo was an artistic genius. She was a Hopi-Tewa living at First Mesa who was going about her duties as a mother and wife, taking care of children, meals and making pottery for use in her home. Her talents in making pottery were early recognized by trader Thomas Keam, who, when he needed someone to make pottery for his business, chose Nampeyo. He recognized her as the best potter at Hopi.

When one looks at this jar, there is no question that she was a great artist. It must qualify as one of the most creative and beautiful jars of the time. One can feel Nampeyo's presence when rubbing the inside of the rim of the jar where her hands formed the nearly flat top. There are probably fingerprints inside the rim.

Would you like to purchase or read more about this Hopi Pueblo pottery?

Beautifully Burnished San Ildefonso Solid Black Bowl by Maria Martinez - C3910F

Posted by Adobe Gallery Team Member on Fri, Jul 14th 2017, 14:19

Maria Martinez Pottery C3910F When Maria Martinez produced plain blackware without having a family member paint on a design, she signed her name as Maria Povéka. According to Richard Spivey, Maria started signing with the Maria Povéka name in 1956 when she began collaborating with Popovi Da. This was an attempt to distinguish between pottery she alone completed versus those that were collaborations with Popovi Da. Spivey states that Maria abandoned the Povéka signature in the mid-1960s. After that, all pieces were signed Maria/Popovi whether decorated or not. Spivey 2003

Would you like to purchase or read more about this pottery?

Kewa Pueblo Large Dough Bowl with Native Repairs - C3924i

Posted by Adobe Gallery Team Member on Tue, Jul 11th 2017, 14:48

Native repairs on a pottery vessel is an indication of its importance to the owner as an item with which she would have need for household use. Minor cracks can be stabilized on a dough bowl such as this one by wrapping a wire or rawhide around the rim as a cinch. Additionally, the crack or cracks can be covered in piñon pitch as a sealant to prevent eventual chipping and worsening of the crack. This historic pottery bowl has both remedies. There is wire wrapped around the bowl just under the rolled-out rim and it has an elaborate hooking tie. There are remnants of piñon pitch over three vertical rim cracks. Most of the piñon has fallen off but enough remains to identify it.

Would you like to purchase or read more about this pottery?

Traditional Hopi Pueblo Aya - Rattle Katsina Doll - C3535.56

Posted by Adobe Gallery Team Member on Tue, Jul 11th 2017, 14:07

Many types of katsinas carry a rattle, called aaya or aya, in one hand when they participate in a plaza dance. The rattle is made from a dried, painted gourd and filled with pebbles or dry corn kernels and then fitted with a wooden handle. It makes a clattering sound as it is shaken.

Aya Katsina is a katsina whose head looks like the brightly painted rattles that are among the gifts given by katsinas to children at Powamu and Niman ceremonies. The head of the Aya Katsina resembles the painted design found on gourd rattles.

Would you like to purchase or read more about this katsina doll?

Historic Zuni Pueblo Child Size Polychrome Jar with Heart Design - C3924R

Posted by Adobe Gallery Team Member on Tue, Jul 11th 2017, 13:50

There is a charm to small pottery vessels that gets lost in larger size ones. Perhaps it is our association with small children and small animals that always attracts our attention. This small jar not only is charming, it has a most unusual and concentrated design pattern for its size. There are four design panels on the body that occupy the space from the shoulder to the base. Each of the four is densely compact with bold black lines, filled in with fine lines in black and red, rain clouds attached to the sides and hearts at the top and bottom. The neck design is a sweeping rain bird filled with fine lines.

Would you like to purchase or read more about this pottery?

Hopi Pueblo Bowl with Narrow Design Band at Neck - C3926P

Posted by Adobe Gallery Team Member on Mon, Jul 10th 2017, 16:30

Collectors of contemporary pottery today are very interested in purchasing pieces that are signed by the artist. This was not true in the late 19th and early 20th centuries. It was sufficient to select a piece based on its personal appeal to the potential collector. Most of the late 19th and early 20th century pieces are not identified with a potter.

Most mid- to late-20th century pottery is signed with a potter's name, however, there are some in which the potter either failed to sign or perhaps was not able to write her name. The lack of a signature does not invalidate an item of pottery. It can be just as beautiful as one signed with a potter's name. Generally, an unsigned pottery vessel is less expensive but not less desirable.

Would you like to purchase or read more about this pottery?

Laguna Pueblo Historic Pitcher with Handle - 25992

Posted by Adobe Gallery Team Member on Mon, Jul 10th 2017, 16:15

Written in pencil on the body of this pitcher is "Found in Acoma in 1880 Navajo Indian." Of course, this is not of Navajo origin and quite possibly might not be of Acoma origin, but is likely a product of Laguna Pueblo, and circa 1880 is a reasonable date to ascribe to it. It has a band of decoration painted in that deep red clay that has not generally been used since 1900.

The dark red and dark orange rainbow bands, supplemented by dark brown designs, provide a design that is strong visually. It makes this small pottery vessel stand out among larger pieces that are weaker in color.

Would you like to purchase or read more about this pottery?

Bear Paw Symbol

Posted by Todd on Mon, Jul 10th 2017, 11:18

Mary Mackie says: Bear Paw symbol in Pueblo pottery.