Corn Moquino is of Zia and Hopi heritage. He married into Santa Clara Pueblo and has been making Santa Clara style pottery since around 1963. He is one of the earlier potters to employ sgraffito style carving. 

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Ascensión Trujillo was from San Juan Pueblo (now Ohkay Owingeh). Like most of his contemporaries, he attended the Santa Fe Indian School, however, after the departure of Dorothy Dunn, so his work is not of The Studio style. He continued his education at the University of New Mexico.

Clara Lee Tanner stated that he "painted rather extensively at the Indian School, featuring native dances. He demonstrated potentials in good and clean outlines, modeling in lines, and in a pleasing handling of color; sometimes he produced a facial type which suggests the work of Tonita Peña."

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It was never the intent of the Hopi to share their secrets with the White culture as there generally was a distrust by the Hopi of the White.  The Hopi villages were thrust into turmoil in the early 20th century when the villages split among those who believed it was wise to follow the government's orders to send their children to white man's schools and those who were against.  However, in the late 1950s Oswald White Bear Fredericks convinced Fredrick Howell, director of the Charles Ulrick and Josephine Bay Foundation, to underwrite a history of the Hopi people. Howell approved the idea and, eventually, Frank Waters was chosen as the writer to work with White Bear.

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Delores Juanico is a daughter of Marie S. Juanico (1937 - ) who was her mentor.  Marie learned pottery principals from her mother, Delores Sanchez, who lived to the age of 103. Young Delores carries on the tradition from her grandmother and mother of making the finest Acoma pottery.  Her construction is traditional to Acoma pottery and the vessel walls are amazingly thin and consistent throughout.  The design was painted to absolute perfection.  Each line is thin and precise, and the application of the fill-in paint is consistent in texture. 

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Raymond Naha was a Hopi-Tewa Indian from the village of Polacca at First Mesa.  He attended the Polacca Day School and then Oraibi High School where he studied for a year under the tutelage of Fred Kabotie.  Naha had a natural talent for painting and was encouraged by Kabotie to pursue his interest.  Under his own initiative Naha took several correspondence courses and attended the Phoenix Indian School.  As so many others, he served four years in the Army during World War II. 

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This figurine is most likely from the 1960 decade or slightly later.  That was a period following the original use of all natural pigment, which was then followed by the use of bright poster paints.  "After the war,pottery making gradually was revived.  Bright watercolors became more available.  Many Tesuque potters painted their pots with the bright colors." According to Ignacia Duran "People really went for those colored pots.  For retail sales under the portal, we put more color on our pots and more action into our figures.  Then, one day some people came and said they didn't want us to use the watercolor paints anymore."  She said that most of the potters abandoned the bright watercolor paints for more subdued natural colors."  Schaaf 2000, 260

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"Ignacia was among the potters who made the famous Tesuque Muna.  'Anastasia Romero Vigil was one of the first to make [Muna] Rain Gods.  [By the 1920s and 30s] everyone use to make Muna.  We made hundreds every week.  The traders use to come every Friday' [to buy the Muna and other pottery]." Ignacia Duran in Schaaf 2000; 260

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There were few potters at Santa Clara Pueblo who were as well-known as Margaret Tafoya during the 20th century.  She was the mother of a talented family of potters and the entire family spent summers at the Royal Gorge near Canon City, Colorado, where they would demonstrate for tourists.  Margaret was adept at making very large jars or very small jars.  She produced an outstanding burnish and beautiful black firing.  There were no mistakes in her work.

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White Bear (Oswald Fredericks) spent most of his life as a Hopi artist and story teller working for various youth organizations. One of his accomplishments was the carving of the Goldwater Kachina Collection which now resides at the Heard Museum in Phoenix. His second major accomplishment was collecting oral histories of Hopi people. These oral histories were the basis of Frank Waters' Book of the Hopi.

White Bear was born in Old Oraibi on February 6, 1905 to Charles and Anna Fredericks. He attended the Oraibi Day School, was sent to the Phoenix Indian School then on to Haskell Institute in Lawrence, Kansas, and Bacone College in Muskogee, Oklahoma. From this point he moved to New York, where he taught Indian Lore to the Boy Scouts. He then became the head instructor for arts and crafts for the YMCA in New Jersey and spent time at Shawnee-on-the-Delaware as a workshop instructor in Indian music.

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White Bear (Oswald Fredericks) spent most of his life as a Hopi artist and story teller working for various youth organizations. One of his accomplishments was the carving of the Goldwater Kachina Collection which now resides at the Heard Museum in Phoenix. His second major accomplishment was collecting oral histories of Hopi people. These oral histories were the basis of Frank Waters' Book of the Hopi.

White Bear was born in Old Oraibi on February 6, 1905 to Charles and Anna Fredericks. He attended the Oraibi Day School, was sent to the Phoenix Indian School then on to Haskell Institute in Lawrence, Kansas, and Bacone College in Muskogee, Oklahoma. From this point he moved to New York, where he taught Indian Lore to the Boy Scouts. He then became the head instructor for arts and crafts for the YMCA in New Jersey and spent time at Shawnee-on-the-Delaware as a workshop instructor in Indian music.

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Pablita Velarde (1918-2006) Tse Tsan - Golden Dawn, Santa Clara Pueblo, was well familiar with dance costume details and she was careful to portray dancers with accurate clothing. Her paintings are ethnographically important as well as artistically important. She has provided us with a detailed representation of pueblo dancers of her time. This presentation of a very active Eagle Dancer is no exception. His costume is accurate and the presentation of the dance is as one would see at the pueblo.

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Maria and Julian Martinez had four sons:  Adam, born in 1903; John in 1915; Popovi Da in 1922; and Phillip in 1925.  There is very little information published on John and Phillip except a few statements made by Maria, published in Richard Spivey's book The Legacy of Maria Poveka Martinez. 

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Dolores Lewis Garcia is a daughter of Lucy M. Lewis, and was taught the craft of pottery making by her mother. She says her ancient ancestors, the Anasazi, inspire her designs.  The design on this jar is one generally associated with Zuni Pueblo.  The figures are known as "heart-line deer."  It has been stated that Lucy Lewis approached Zuni elders and asked permission to use the Zuni design on her pottery and her request was granted.  She and her daughters have used the Zuni design for over a half century. 

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Julián Martinez (1885-1943) Pocano - Coming of the Spirits is most often associated with his wife, Maria Martinez, as the painter of her ceramics from the early 1900s until his death in 1943. He did, however, execute paintings on paper as well. He was one of the very early San Ildefonso self-taught easel artists. His watercolor paintings were a minor activity as compared to his brilliant achievements as the decorator of Maria's pottery. He was painting watercolors before 1920 and continued as time permitted until his death. 

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Sofia Medina is certainly one of the best known of her generation of potters from Zia Pueblo.  She married into the Medina family in 1948.  She and her new husband Rafael (1929-1998) lived with his grandmother, Trinidad Medina who taught Sofia the techniques of potting. Her mentor, Trinidad, was one of the most talented potters at Zia and Sofia learned well and produced quality wares throughout her life.  Sofia used all natural materials in her pottery, including the pigments for painting.  Her husband is known for using acrylic paints on pottery after firing.

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Alfred Momaday (1913 - 1981) Haun Toa - War Lance is as well-known as a teacher and educator as he is an artist.  He was of the Kiowa Tribe but spent 20 years as a principal and teacher at the Jemez Pueblo Day School.  He lived in New Mexico from 1947 until he passed away at Jemez Springs in 1981.  He was the son of A-ho and Mammedaty - Standing High and the father of Pulitzer Prize-winning author, N. Scott Momaday. He was married to author and poet Natachee Scott Momaday who was of Kiowa and Cherokee heritage.

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Mark Tahbo has long been inspired by the works of Grace Chapella, his great-grandmother.  Grace was fond of using images of butterflies or moths on her pottery, to the point that it became her signature design.  Mark followed her style for many years.  Recently, however, he has become enchanted with the work of Nampeyo and has begun incorporating her style into his pottery designs, although not copying anything but using them for inspiration.

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Emma Lewis Mitchell was a daughter of Lucy Lewis and her siblings were Ann Lewis Hansen, Mary Lewis Garcia, Dolores Lewis Garcia and Carmel Lewis Haskaya, all of whom are outstanding potters.

 
This jar by Emma Lewis Mitchell is typical of her fine quality work.  It was well formed and sanded.  The white slip covers the entire outer surface, including the underside, and reveals the hands of a potter who was an expert at polishing the surface.  The white slip is smooth and highly burnished.  There are eight heartline deer over the body of the vessel.  Each was painted to perfection. 

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This carving pre-dates the advent of acrylic paints in the 1960s. It appears to date from the period of pre-World War II, probably the 1930s. The doll stands firmly without use of support.

Otto Pentewa (1886-1961) and Wilson Tawaquaptewa (1873-1960) were the first Hopi katsina doll carvers to have dolls attributed to them by name. Both carvers became famous in the 1920s-1930s and each had a very distinctive style. Collectors, with little difficulty, can identify the unsigned carvings of these two individuals.

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When one sees stippling on a Hopi seed jar as well as a long graceful bird beak, the temptation is to attribute it to Nampeyo of Hano, but more needs to be considered that those attributes.  The vessel shape of this jar could be associated with Nampeyo but the upturned rim is not typical of her style.  It is most likely that a member of her family is responsible for this one, perhaps an early jar by Fannie Nampeyo or even one by Annie Healing. 

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