Dorothy Torivio was the most progressive artisan at Acoma Pueblo since as early as the 1980s. She was born at Acoma Pueblo and is renowned for her innovative work in exaggerated seed-pot forms in large and miniature sizes. She painted her hand-coiled and outdoor-fired pots with black and white or polychrome patterns of staggering intricacy, painted fresh, and with computer-like precision.

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Grace T. Chino was an exceptional potter. Her vessels were formed with consistent wall thickness and her designs were tailored to fit the shape of the vessel. She was a daughter of Marie Z. Chino.  She was a consistent ribbon winner at Santa Fe Indian Market from 1980 through 1993.  She was one of the artists featured in Seven Families in Pueblo Pottery exhibit at the Maxwell Museum in Albuquerque in 1979 and also in One Space, Three Visions exhibit at the Albuquerque Museum.

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Carl Von Hassler was fond of painting villages and landscapes in and around New Mexico. He moved to New Mexico in the early 1920s and established his studio in Albuquerque's Old Town. For 47 years, he painted New Mexico scenes and became an Albuquerque legend. Almost everyone living in Albuquerque in the 1920s through the 1960s knew him and had a story they could relate about him.

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The Splendid Heritage catalog of American Indian artifacts represents the commitment of American collectors to share the beauty and significance of hundreds of ethnographic treasures with a worldwide audience. Originally exhibited as the Akicita Collection at the Southwest Museum and as Splendid Heritage at the Wheelwright and Eiteljorg Museums, the expanded collection of artifacts was on display at the Utah Museum of Fine Arts from February 10, 2009 to January 3, 2010.

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The Anasazi are the ancient ones, the ones who preceded the contemporary pueblo peoples. At an Anasazi ruin in Utah in 1960, archaeologists unearthed a burial of a female who had passed away around circa 1100. Around the neck of the remains was a beautiful turquoise necklace. Necklaces such as this are still the most favored among the Pueblo people of today.

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Jaclas, which means ear strings, were originally made to be worn as earrings. Later, they became an addition to what is considered to be the most traditional form of pueblo necklace-a turquoise nugget necklace. These were made and worn long before the art of working in silver was taught to the Natives. Each cylinder of turquoise was cut from a larger piece, in square form, drilled through the center, strung on string, and then sanded to circular shape. By doing this, each bead would be the same diameter or graduated diameter per the wishes of the artisan.

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The original location of Santa Ana Pueblo was close to Zia Pueblo and pottery from the two villages was quite similar in materials, technique and construction.  In the mid-1700s, the pueblo acquired land near Bernalillo, just north of Albuquerque, for better farming.  This change in location effected a change in pottery as well.

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Rachel Medina claims dual relationship to Zia, her native pueblo, and Santa Ana Pueblo, where she has lived.  She is a daughter of Sofia and Rafael Medina, granddaughter of Juanita Toribio Pino, and great-granddaughter of Rosalea Medina Toribio.  Her brother is Marcellus Medina. 

Rachel's mother, Sofia, taught her the techniques of Zia pottery and Eudora Montoyaof Santa Ana taught her the techniques of Santa Ana pottery.  In addition to making pottery of the styles of both pueblos, Rachel acquired a Nursing degree from Eastern New Mexico University in Portales. 

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Santa Ana Pueblo received its name in the 1600s when the Spaniards set about assigning saint's names to all the pueblos.  The native name of this Keres-speaking pueblo is Tamaya.  At that time, the pueblo occupied land adjacent to Zia Pueblo close to theJemez River.  Because farmland was scarce at their native lands, the pueblo chose to move close to the Rio Grande in the early 1700s.  That location is just north of Albuquerque. 

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For those who have followed the meteoric career of Navajo artist Tony Abeyta, it is obvious that he has passed through a number of painting styles.  His earlier works were more graphic and the later ones more abstract.  This 1985 painting of petroglyph form is entitled "Symbols" and is in a realistic presentation of cave drawings or pictographs.  This was predominately the style of art painted by Abeyta 30 years ago.  It is interesting to see his evolvement from then to now.

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Eighth Annual Historic Canyon Road Paint & Sculpt Out

Saturday, October 17th, 10am to 4pm

Art Walk 
Friday, October 16th, starting at 5pm

Cham Benvenutti will be painting in front of Adobe Gallery

Every so often an event comes along that no one should miss. The Historic Canyon Road Paint & Sculpt Out is one of them.

Every year, on the third Saturday of October, hundreds of artists bring paint, easels, clay, carving tools, fire, fibers, beads, precious metals, and stone to Canyon Road for the iconic event. Continuing a hundred year tradition, artists line the road to create new work “en plein air” and involve onlookers in the process.

The natural beauty of the pure mountain air, the ethereal quality of the light, and the clear vistas have proven an irresistible draw to artists for more than a century. The Paint & Sculpt Out brings together all these elements for one glorious autumnal weekend.

Each year, wonderful new elements are introduced to the “Paint Out”. In 2014, sculptors were added to the roster, and many revealed their fascinating processes for the first time on Canyon Road. This year, the event is open to all creative artists including glass blowers, fiber artists, jewelry designers, weavers, carvers, and potters.

Many take inspiration from Canyon Road’s carefully preserved historic adobes and gardens. Belly dancers, riders on horseback, passers-by, live musicians, and a festival parade with marching bands provide subject matter for others.

Friday Evening: Most galleries will be open late with artist receptions, demonstrations, and new exhibits. Take time to meet the artists and preview their work. Restaurants and many boutiques, designer jewelers, galleries and shops will be open late.

The event is organized by the Canyon Road Merchants Association

Asunción Aguilar Caté and Felipita Aguilar Garcia, two sisters from Santo Domingo Pueblo created lasting pieces of pottery that live on through the years.  Little is know about the two sisters aside from information that is printed in a few educational pamphlets.

We do know that around 1910, sales began to drop for the two women.  The padre in their pueblo encouraged the sisters to create a unique piece of art.  One of the sisters preferred to pot with cream colored slips and the other preferred red.  Together they produced historic and unique art, different from many of their contemporaries.

This piece seems to have been created by Asunción because of the black and red style.   The contrast of the black and red was not immediately popular, but together they made a new style that lasted into the late 1900s.

This Kuwan Heheya Katsina Doll, also known as a Colorful Heheya Doll, hails from the Hopi Pueblo and is a prominent component of the Pueblo’s group dances. Often chosen for the Niman Kachina on First Mesa, these dolls are accompanied by Kachin Manas who dance in a separate line, rasp and kneel during certain points of the rain-invoking ceremonies. The Kuwan Heheya and the Hemis Kachina are tasked with asking the supernaturals to bring rain to their partly matured crops. Two side dancers also usually accompany the Kuwan Heheya: the Uncle and the Youth.

This particular carving likely dates back to the 1960s and is in very good condition for its age. The item from the right hand is missing and the right arm has been broken and glued at the bicep. This piece comes from the collection of an Oregon family to whom we sold the doll in 1994.

Learn more about this piece and see how you can add it to your wish list here.

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Subject: Hopi Kuwan Heheya (Colorful Heheya) Katsina Doll

Carver: Unknown

Category: Traditional

Origin: Hopi Pueblo

Medium: wood, paint, yarn, feathers, string

Size: 9-1/4” tall

We just received this incredible painting by one of the most well-known and accomplished New Mexico Native artists, Tony Da. It is unlikely that any collector of the genre has not at least heard of Tony Da, son of Popovi Da and grandson to Maria and Julian Martinez.

This piece features a Native American practicing the art of archery atop a muscular blue horse. The painting was completed when Tony was still in high school and proves his skill from a young age.  The date on the piece is 1957, a period in the artist’s life when he was experimenting with different styles and had not yet latched onto the graphic style that he later became known for.

Underneath the signature on the painting is a cartouche or remark that resembles a jewelry design. Tony crafted jewelry in his early years, so an addition like this isn’t out of the ordinary. In fact, it is simply another testament to his talents.

The painting appears to be in very good condition with some possibly minor fading of background paper color. It is framed with archival materials and a dark brown wood frame. Learn more here.

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We know that Glenna Goodacre crafted this bronze likeness of a young girl dancing early on in her career, but we don’t know much more than that. There is something thrilling about seeking to gather information on such a lovely piece of work, and we have had a wonderful time trying to track down the details.

We learned that the current owners purchased the sculpture from Forrest Fenn of Fenn Galleries in Santa Fe in the late 70s. To verify, we went to Nedra Matteucci Galleries  (who purchased Fenn Galleries) and we received confirmation that a couple had acquired the jovial piece in 1978.

Unfortunately, the official title, where the bronze was cast, and other pertinent information regarding the origins of the piece are eluding us, as this sculpture was not included in Goodacre’s Catalog Raisonné. While it would be lovely to have the whole background of this figure, we also find that its mystery adds to its charm. We can, however, guarantee that Goodacre did create this gem, and although we don’t know what she intended to call it, we feel that “Little Girl Dancing” suits it perfectly.

The bronze is stamped “Goodacre” and numbered 6/15. The wood base measures 3-7/8” x 3-7/8” x 5” tall.

About the Artist:

“Glenna Maxey Goodacre (born 1939 in Lubbock, Texas) is a sculptor well known for having designed the obverse of the Sacagawea dollar that entered circulation in the United States in 2000. She also designed the Vietnam Women's Memorial located in Washington, D.C., of which there is a smaller replica at Vietnam Veterans Memorial State Park in Angel Fire, New Mexico. Goodacre's art appears in public, private, municipal and museum collections throughout the U.S. Her bronze sculptures feature lively expression and texture.” [source]

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“For over 2,000 years, Native Americans of the Southwest have prayed to the great spirits to bless their world with good weather, abundant game and a bountiful harvest. The Pueblo people believe that each year, just after the winter solstice, beings known as Kachinas bring them messages from these spirits, walking upon the earth to interact with the Pueblo people. At the end of the planting season, they return to the spirit world. Since each tribe may have their own distinct Kachinas, there is thought to be over 400 of them.” [www.kachinasdolls.com]

 We are thrilled to present to you a refined exhibit highlighting katsina (kachina) imagery and various Pueblo cultural objects. We have thoughtfully displayed, both in the gallery and on our website, a comprehensive collection of Hopi and Zuni Pueblo katsina dolls – dating from the 1930s to the 1990s. Intertwined with the doll collection are bronze sculptures of katsinas by the late Hopi artist, Lowell Talashoma, paintings by early 20^th century Hopi artists of katsinas, as well as paintings by later pueblo artists of katsina dance scenes. You will also see pueblo pottery adorned with katsina imagery and a lovely Hopi basket with Crow Mother and Eagle katsina imagery.

We are certain you will be captivated by the imagery, color and symbolism in this exhibit. Come by the gallery and experience the cultural and historical significance of the katsina.

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Opening Reception Friday, November 14th 5:00 until 7:00 pm

Exhibiting through January, 2015

Whether you are looking to broaden your knowledge of Native North American history, or simply seeking to enhance your library with a literary treasure, take a look at one of our latest acquisitions: “CULTURAL AND NATURAL AREAS OF NATIVE NORTH AMERICA,” By A. L. Kroeber, Professor of Anthropology in the University of California.

Penned and published for the first time in 1931 and published for a second time in 1947, this book was intended for “the veteran anthropologist, the beginning student, and the interested layman.” [front cover] Our copy is in very good condition, and only has some slight tears to the slip cover.

The contents include but are not limited to: Culture areas, climaxes, and boundaries; Tribal synonyms; Pronunciation of tribal names; Authorities used for vegetation maps; Sources of Eskimo culture; Ecological Phases; Many Culture Areas, ranging from the Southwest to the Intermountain Areas and beyond – even as far as Mexico and Central America; and Relations of environmental and cultural factors.

The book is out of print, so we are honored to be one of the few carriers of this informational, cultural and historical publication. Learn more about this piece of literature and even add it to your Adobe Gallery Wish List by clicking here.

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Subject: CULTURAL AND NATURAL AREAS OF NATIVE NORTH AMERICA (Southwest Book – Anthropology & History)

Author: A. L. Kroeber, Professor of Anthropology in the University of California.

Category: Books

Date Published: December, 1939

Reprinted: 1947 (second printing)

Size: 242 pages, 28 additional maps. Illustrated.

We are thrilled to say that we recently acquired this stunningly detailed J.D. Roybal painting. Roybal is known by most collectors for his Koshari clown figures, which are mostly note card size; however, he was certainly adept at painting larger-scale images such as this.

This piece is a lovely illustration of traditional male and female corn dance figures that are performing at a Harvest Dance. A close look at the intricacy of this painting is certainly recommended because the detail of their costumes is extraordinary, and their facial expressions tellingly reflect the sanctity of such a dance.

This painting was recently framed using all acid-free materials and a gorgeous silver-toned wood frame. The owner has authorized a reduction in price as well.

About the Artist:

His well-known uncle, Awa Tsireh, heavily influenced J.D. Roybal. Roybal studied at St. Catherine’s School in Santa Fe and later at the Business College of Santa Fe. He married his wife Julie in the early 1950s and soon after began producing pueblo dance designs on hand-painted Christmas cards. As early as 1955, he was seriously painting larger works and was later recognized by the Heard Museum in Phoenix and the Philbrook in Tulsa. Roybal received a consistent thread of first prizes in painting for each year since the Eight Northern Pueblos Arts and Crafts Shows began.

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Subject: Special Value Offer: Original Painting of Male and Female Corn Dancers

Artist: José Disiderio (J.D.) Roybal 

Category: Paintings

Origin: San Ildefonso Pueblo

Medium: Watercolor

Size:  12"x9" image; 18"x15" framed

This grand Cochiti storage jar was almost certainly originally created to be an in-house storage vessel for grain, corn or other dry goods. While its purpose was for function, that didn’t stop its creator from giving it aesthetic appeal. The potter spent time crafting black paint from the leaves of the Rocky Mountain Bee plant and applied it to the rounded surface – a decorative motif that has lasted since 1880, when it was likely created.

Why, one asks, does the potter feel the need to embellish such a utilitarian piece? Potters believe that a vessel is not truly complete until decorated, and it isn’t the design, but rather the act of painting the design, that brings the pottery vessel to the state of completion.

This jar was beautifully constructed and is in excellent condition. Its loose decorative style is in sync with the trends of pre-1900 vessels, and is a superb example of a traditional Cochiti Pueblo storage jar.

For additional information on this piece and to learn more about the Cochiti Pueblo, click here.

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It is believed that the Navan Katsina originated at the Village of Moencopi on Third Mesa sometime after 1900. He is a very colorful Katsina with his velvet shirt and colorful ribbons. He represents the blooming of plant life and the beauty of life, as illustrated by the flowers on his head. His songs are prayers for rain to sustain life.

This carving was very well made.  The skirt has folds and the feet turn upward slightly.  The velvet shirt is adorned with ribbons and a tubular bead necklace hangs around the neck.  An excellent array of feathers adorns the head. He carries a rattle in one hand and a bow in the other.

A metal stand has been provided for support but the doll may be hung from the string around its neck.  It appears to be pre-1960s based.

Condition: He is in very good condition, with no evidence of damage.

Provenance: from the collection of a California gentleman

Recommended Reading: Following the Sun and Moon: Hopi Kachina Tradition by Alph H. Secakuku

Subject: Hopi Pueblo Navan (Velvet Shirt) Katsina Doll 

Carver Unknown

Category: Traditional

Origin: Hopi Pueblo

Medium: Cottonwood, fabric, feathers, ribbon, beads

Size: 9-5/8” tall