This is a rarely carved Katsina doll. He is considered to be a 20th-century import from the Rio Grande Pueblos and this is evident in his dress. He appears in the Hopi Plaza Dances and has the function of aiding in the growth of corn. He is seen annually in the dances, but rarely in the form of a carved doll.

The carving is very well accomplished for a carving from the early 1960s as carvings of that era were not always of the finest quality as haste in completing them was deemed acceptable for a sale to tourists.

Condition: very good condition with some dust evident in the feathers
Provenance: Originally purchased in June 1961, directly on the Hopi Reservation, by Alexander E. Anthony, Jr. Sold to an Adobe Gallery client in 2002 from whose estate it is has been returned to Adobe Gallery
Recommended Reading: Kachinas: a Hopi Artist's Documentary by Barton Wright

Subject: Hopi Nayaiyataka Katsina Doll, circa 1961
Carver Unknown
Category: Traditional
Origin: Hopi Pueblo
Medium: cottonwood, feathers, string
Size: 12-1/2" tall
Item # C3360R

Peter Shelton, Jr. is widely recognized as one of the major carvers of Katsina dolls in the mid-20th century. He and his brother, Henry Shelton, are names recognized by collectors of older carvings. He contributed to a style of more detail such as folds in kilts and shirts. This katsina doll appears to be of the style of his work in the 1950s and 1960s.

When we first received this carving, there was a question in my mind whether it was the First Mesa Shalako Katsina who wears a velvet ribbon shirt or the Navan Katsina who also wears a velvet ribbon shirt. Neither seemed quite correct but both seemed to be possibilities. As I always do when I am unsure about a katsina, I consulted with the expert on Hopi and Zuni Katsinas—Chad Burkhardt. I have known Chad since he was about 10 years old and he would come to the Albuquerque gallery and stand in front of the 10-foot showcase full of Katsina dolls and proceed to name each of them. It was remarkable that a person of that age was so knowledgeable and interested in such an esoteric subject. He said this one is the Wakas'la'laiya (Cow Herder) Katsina.

The Wakas'la'laiya Katsina is the side dancer for Wakas'katsinam (Cow Katsinas) when they come as a group. He has a small round rattle of the type that this doll is holding and is dressed just like this doll. The Wakas'katsinam represent animal spirit messengers to the Rain gods. Their songs and dance movements are prayers for rain, and are symbolic of animals' self-sacrifice in supplying food to sustain life." (Secakuku)

This carving was very well made. The katsina doll stands erect, with one foot slightly in front of the other, as if in the process of taking a step. It stands alone without support or may be hung from the string around its neck.

The shirt and kilt were carved to show folds, and the ribbons over the shoulder are real, not painted. The painting of the embroidered sash is excellent. The carving is signed Hoyesva under one foot.

Condition: He is in very good condition, with no evidence of damage.
Provenance: from the Michael Frost estate
Recommended Reading: Hopi Katsina: 1,600 Artist Biographies by Gregory Schaaf

Subject: Hopi Wakas'la'laiya (Cow Herder) Katsina Doll signed Hoyesva
Carver: Peter Shelton, Jr. (1920-1992) Hoyesva - Wherever the Arrow Lands
Category: Traditional
Origin: Hopi Pueblo
Medium: cottonwood, ribbon, feathers
Size: 12-1/4" tall
Item # C3360T

Red ware by Maria Martinez is among the rarest of all pottery she produced. Black ware was so popular with collectors that she rarely fired any red ware. Early pieces like this one by Maria and Santana, produced shortly after Julian passed away, also are rare-maybe even rarer than pieces by Maria and Julian.

Condition: This piece is in very good condition, but does exhibit some scratches and abrasions as would be expected on a piece that is over 50 years old.
Provenance: from the estate of Michael Frost
Recommended Reading: The Legacy of Maria Poveka Martinez by Richard Spivey

Artist / Potter: Maria Martinez 1887-1980 and Santana
Category: Contemporary
Origin: San Ildefonso Pueblo
Medium: Native Clay
Size: 8-1/8" diameter
Item # C3360E

We mostly think of Maria making major pieces of pottery, but occasionally she must have had a small amount of clay remaining after completing a major piece, and chose to use it to make small items. Also, it must have been a bit relaxing to make small humorous pieces such as animals or hornos or some other non-major piece after just finishing some major undertaking.

This small horno was probably made for use as an incense burner, or perhaps it was just made as a replica of the bread ovens seen around the pueblo.
It is signed Marie & Santana. In crayon is written the date 8-11-56, and a paper price tag indicates a cost of $2.

Condition: original condition
Provenance: from the estate of Michael Frost
Recommended Reading: The Legacy of Maria Poveka Martinez by Richard Spivey

Subject: Polished Black Horno signed as Marie & Santana
Artist / Potter: Maria Martinez 1887-1980 and Santana
Category: Contemporary
Origin: San Ildefonso Pueblo
Medium: Native Clay, Slip
Size: 3-3/4" x 2-5/8" base x 2-1/2" tall
Item # C3360D

Santa Fe Style fashion has been modeled somewhat from the velveteen clothing of Navajo women. The simple velveteen blouse of the Navajo was expanded to a full dress when converted to Santa Fe Style. Westerners have a vivid picture of what a typical Navajo woman wears while weaving rugs or when attending ceremonial and social occasions. This romanticized vision consists of a beautiful velveteen blouse covered with silver buttons and pins.

This romanticized vision we have today had its beginnings in adverse times for the Navajo. Before the arrival of the Spaniards, Navajo dress consisted of the Pueblo-influenced biil, the two- piece wool dress worn over one shoulder and under the other. In the mid-1800s, westward expansion, resisted by the Navajo, forced the Government to take action against the Navajo in their own lands, eventually imprisoning them at Fort Sumner, New Mexico. During this four-year period of internment, Navajo women who had been taken as servants were taught to sew by their captors. This new style of clothing is a result of this period of capture.

Regardless of the harsh beginnings of this style of clothing, it is now accepted by Navajo women and is standard dress today. This red velveteen blouse is very typical of the traditional style and was purchased on the Navajo Reservation in the 1950s.

The left sleeve of the blouse has 12 small silver buttons on the outer edge and two silver and turquoise buttons on the inner edge. The right sleeve has the same mixture. V-shaped silver repoussé collar tabs are stitched to both collars. On the front of the blouse, from the bottom up, are 8 small repoussé butterfly buttons, above which are three larger silver and turquoise butterfly pins.

Subject: Diné (Navajo) Velveteen Blouse with Silver Buttons
Unknown Maker
Category: Clothing
Origin: Diné - Navajo Nation
Medium: Fabric, Silver, Turquoise
Size: Ladies Medium
Item # 25362

Hopi pottery tiles had their beginning as utilitarian objects by the potters of the villages. In making pottery vessels, it is imperative to add a tempering agent to the clay for strength. Occasionally, sand was used as a tempering agent, but more often the potters chose to use fragments of broken pottery. There were times when broken fragments were in short supply, so the potters fashioned square tiles of clay, fired them, then ground them to the fineness of sawdust, and that was their temper.

Thomas V. Keam, an early trader to the Hopi, described this process in his diary. "... the Moki women made frequent reference to the method anciently employed to produce a paste of compact and equable texture, by first molding the clay into tiles, which, after baking, were ground into a fine powder."

Keam was a very astute businessman. He saw the potential for converting these tiles into items that would be saleable to tourists. Keam started collecting decorated tiles as early as 1880. All the early tiles were decorated with Katsina faces or, in some cases, full bodies. It was Keam's influence that led to a production that reached its peak in the 1920s.

When the Santa Fe Railway opened its first Indian Department in 1902, tiles were a featured item. Each tile bore a paper label reading "From the Hopi Villages." At one time, the Indian Department inventory reflected 2700 tiles.

The conversion of tiles from utilitarian to collectibles was not easy. Tiles made for use as temper did not necessarily have to lie flat or even be properly shaped, but when Keam wanted decorated pieces for sale, he expected them to lie flat and be either square or rectangular. Despite its simple form, the tile is one of the most difficult shapes to make. When the potter sets the tiles aside to dry, prior to firing, the flat pieces of clay tend to curl up or crack. Then, when subjected to the firing process, they often explode.

When the Depression hit in the late 1920s, tourist interest in traveling and in collecting waned, therefore the need for tiles disappeared. Very few tiles were made after 1930. Those potters proficient in making them soon passed on and the younger potters chose to make vessel shapes because of the relative ease and success rate in firing.

Historic Hopi tiles are among the rarest of Hopi ceramics. Early ones such as this one were made thicker than those made in the revival period of the late 1900s. This one is ½-inch thick. Modern ones are 1/8th to 1/4th inch thick. This tile features the face of Salako Mana Katsina. A remnant of the paper label on back reads "From the Hopi Villages."

Condition: excellent condition
Provenance: from the collection of a gentleman from Connecticut
Recommended Reading: Hopi & Pueblo Tiles: An Illustrated History by Pat & Kim Messier

Subject: Hopi Pottery Tile with Salako Mana Katsina Face, pre-1900
Potter Unknown
Category: Historic
Origin: Hopi Pueblo
Medium: clay, pigment
Size: 3-1/2" x 3-3/8" x ½" thick
Item # C3363B

Sofia Pino 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.

Sofia used a tan slip on her jars and stone-polished it to a beautiful silky sheen. The design is executed in a soft rose-red slip and brown mineral paint.

Sofia Pino 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.

Sofia used a tan slip on her jars and stone-polished it to a beautiful silky sheen. The design is executed in a soft rose-red slip and brown mineral paint. In this jar, there are four panels of Zia dancers—two panels feature single Antelope dancers and two panels feature a pair of unidentified dancers. The jar is extra-large, larger than the standard water jars, and has fire clouds that attest to an outdoor firing.

Condition: the jar is structurally in excellent condition with only minor spalling of clay and a minor chip on the inner lip of the rim.
Provenance: from the collection of Katherine H. Rust
Recommended Reading: The Pottery of Zia Pueblo by Francis H. Harlow and Dwight P. Lanmon

Artist / Potter: Sofia Medina (1932-2010)
Category: Contemporary
Origin: Zia Pueblo
Medium: clay, pigments
Size: 11-1/4" diameter x 13-1/4" diameter
Item # C3309L

Max Early was born into the Turkey Clan of his mother and Bear Clan of his father at Laguna Pueblo.  He grew up with his grandparents.  During his early teenage years, he painted some of his grandmother’s pottery.  He refined his technique to a personal touch, while maintaining traditional Laguna design symbols and compositions. 

Since 1994, Early has continued to be honored as a top prize-winning artist at Santa Fe Indian Market.  At the same time, he has pursued his higher education degree at the University of New Mexico, leaving little time for making pottery.

Max Early was born into the Turkey Clan of his mother and Bear Clan of his father at Laguna Pueblo. He grew up with his grandparents. During his early teenage years, he painted some of his grandmother's pottery. He refined his technique to a personal touch, while maintaining traditional Laguna design symbols and compositions. A good example is his inclusion of the boxes with split rectangular elements in this jar—elements often seen on historic Laguna pottery.

When Early delivered the jar to us, he explained some of the design elements. The black diamond enclosing another black diamond and then enclosing a black box represents Shibot, the eye of God or, as known in Spanish, Ojo de Dios. The diamonds composed of a pair of orange rectangles split by white rectangles and outlined in brown represent planted fields. The black diamonds with a white eye and black pupil represent a bird and the plants on the neck and shoulder are corn.

Since 1994, Early has continued to be honored as a top prize-winning artist at Santa Fe Indian Market. At the same time, he has pursued his higher education degree at the University of New Mexico, leaving little time for making pottery. In addition to being a potter, he is a poet and his first book of poetry is currently being published and will be released shortly.

Take note, in the four vessels we show below as related items, that each of them has a series of the split rectangles mentioned above. These four vessels are historic. Early is continuing the tradition but in a contemporary manner.

Condition: new
Provenance: from the artist
Recommended Reading: Acoma and Laguna Pottery by Rick Dillingham

Subject: Laguna Pueblo Large Polychrome Olla by Max Early
Artist / Potter: Max Early (b.1963)
Category: Contemporary
Origin: Laguna Pueblo
Medium: clay, pigment
Size: 10-3/4" tall x 11-5/8" diameter
Item # C3331B

This is an exceptional Hopi Tasap Katsina doll carved from a piece of cottonwood root. Tasap is a Hopi representation of a Navajo God. There are Hopi versions of katsinam that honor and depict other tribes, such as the Navajo, Havasupai, Comanche, Zuni and other Pueblos.

This is the Hopi version of what the Navajo katsinam might look like. These katsinam are not borrowed from the Navajo, as they are unique to the Hopi. They have the same purpose and functions as all the Hopi Katsinam. They are messengers and/or intermediaries to the rain gods. Since they are katsinam in every respect, they are afforded the same reverence and dignity during their visits.

This Tasap male katsinam wears a ceremonial kilt and rain sash, and has a blue face. The male, along with a companion female, appears during Angak'wa and the summer katsina day dances. Since they depict the Navajo, their songs may have some Navajo words speaking of the good things of life and/or words representing moisture.

Condition: The carving is in excellent condition
Provenance:
ex coll Mary Mira of Kansas City
ex coll Michael Frost Estate
Recommended Reading: Kachinas: a Hopi Artist's Documentary by Barton Wright

Subject: Hopi Pueblo Tasap Katsina Doll
Carver Unknown
Category: Traditional
Origin: Hopi Pueblo
Medium: Cottonwood Root
Size: 9-1/2 inches tall
Item # C3360P

Rugan is a class of katsinas that come in groups, accompanied by the Corn Maidens, who play on rasp musical instruments. There are various types of Rugan Katsinas. This one dates to circa 1940s before the use of shiny acrylic paints. The basic body, legs and head were carved from a single cottonwood root and the ears, mouth and arms were added, typical of the period.

Condition: generally dolls of this age evidence some breakage but this one is still without damage.
Provenance:
ex coll Mary Mira of Kansas City
ex coll Michael Frost Estate
Recommended Reading: Kachinas: a Hopi Artist's Documentary by Barton Wright

Subject: Hopi Pueblo Rugan Katsina Doll
Carver Unknown
Category: Traditional
Origin: Hopi Pueblo
Medium: Cottonwood Root
Size: 10 inches tall
Item # C3360U

According to Barton Wright, the Mona Katsina functions as the River or Thunder Katsina and appears singly in the Mixed Katsina Dances. His function seems to be simply that of encouraging the flow of water.

He appears most often on Third Mesa and there is the possibility that he may be limited to that mesa.

Condition: very good condition with the exception that the right foot has been broken and glued.
Provenance:
ex coll Mary Mira of Kansas City
ex coll Michael Frost Estate
Recommended Reading: Kachinas: a Hopi Artist's Documentary by Baron Wright

Subject: Hopi Pueblo Mona Katsina Doll
Carver Unknown
Category: Traditional
Origin: Hopi Pueblo
Medium: Cottonwood Root
Size: 8-1/2" tall
Item # C3360K

As Jonathan Batkin has well documented, there were several outstanding potters at San Ildefonso during the 1890s whose work can fairly accurately be associated with their names. Following publication of Batkin's studies, it has become easier today to identify late 19th and early 20th century pottery to artists with some degree of accuracy, or so we hope. One husband and wife team, who were extraordinary artisans, was Martina Vigil and Florentino Montoya.

Martina and Florentino have been praised as among the finest artisans at San Ildefonso. Batkin has illustrated a couple of their works in his book Pottery of the Pueblos of New Mexico 1700-1940.

As Jonathan Batkin has well documented, there were several outstanding potters at San Ildefonso during the 1890s whose work can fairly accurately be associated with their names. Following publication of Batkin's studies, it has become easier today to identify late 19th and early 20th century pottery to artists with some degree of accuracy, or so we hope. One husband and wife team, who were extraordinary artisans, was Martina Vigil and Florentino Montoya.

Martina and Florentino have been praised as among the finest artisans at San Ildefonso. Batkin has illustrated a couple of their works in his book Pottery of the Pueblos of New Mexico 1700-1940. It is based on photos in his book that one can identify pottery most likely made by them. This wedding vase is certainly their creation. The style and boldness of the design are quite comparable to those pictured in Batkin's book.

This wedding vessel contains rag-wiped Cochiti slip that was introduced to San Ildefonso by Martina and Florentino in the early 1900s, before they moved permanently to Cochiti around 1905. Most potters at San Ildefonso adopted the new slip immediately, but some continued using the old San Ildefonso slip that required stone polishing. This vessel dates to circa 1910.

Condition: very good condition
Provenance: the current owner purchased this vessel from Medicine Man Gallery in Santa Fe in 2004 and was provided a certificate attributing it to Martina and Florentino. The certificate accompanies the purchase.
Recommended Reading: Pottery of the Pueblos of New Mexico 1700-1940 by Jonathan Batkin

Subject: San Ildefonso Pueblo Polychrome Wedding Vessel
Artists / Potters: Martina Vigil (1856-1916) and Florentino Montoya (1858-1918)
Category: Historic
Origin: San Ildefonso Pueblo
Medium: clay, pigment
Size: 9" tall x 9" wide
Item # C3363C

This exquisite ring is comprised of a wide shank that is split into 3 legs at the top of the ring that support a curved silver base on which rests this beautiful blue round and domed turquoise stone. Four silver rivets rest at the edges of the silver platform. The ring was made from heavy silver stock, possibly ingot silver and probably dates from the 1940s decade. It is in excellent condition.

Subject: Diné (Navajo) Sterling Silver and Turquoise Ring
Jeweler Unknown
Category: Rings
Origin: Diné - Navajo Nation
Medium: Sterling Silver, Turquoise
Size: Ring 5-1/4; 5/8" x 5/8" face
Item # 25273

It is documented that the Navajo made and wore silver buttons as early as 1824 and there are illustrations of this as early as 1840. The Navajo adopted this adornment from the Mexican, who had adopted it from the Spaniard.

Navajo men put buttons on trousers, jackets, moccasins, belts, pistol belts, gun scabbards, saddles, bridles, leather pouches, pouch straps and bow guards. Women used them as buttons on blouses and decorations running down sleeves and around collars. There were occasions where a Navajo would take buttons off clothing and use it for purchases at the trading post.

The earliest and simplest buttons were small domed buttons made by pressing a disk of silver into a rounded depression gouged in a piece of hard wood or soft iron, Later, fluted and decorated buttons appeared.

We are presenting 15 different groups of silver buttons, each group containing a different number of buttons. They are being offered as group lots, as shown below.

An excellent presentation of Navajo silver buttons is presented in our referenced book.
Provenance: This collection of 255 silver buttons was put together by a resident of Gallup, New Mexico in the 1980s.

Subject: Diné (Navajo) Handmade Silver Buttons
Jeweler Unknown
Category: Buttons and Conchas
Origin: Diné - Navajo Nation
Medium: Silver
Size: Less than 1"

Cochiti Pueblo figurines were at their prime between 1870 and 1920. They were most probably made in jest of non-Indian people: the Franciscan Monks, Spanish Merchants, Soldiers, Circus Freaks, etc. Unfortunately for today's collectors, the museum staffs shunned them. Not a single figurine was collected by the Indian Arts Fund from its founding in 1920 until after 1935.

Potters were discouraged from making them. The museum staffs thought they were grotesque and not fit for museum collections. Now, we find them charming, and today's collectors understand the humor and meaning of them. Had the potters been encouraged to make them, they would not be so rare today.

There are very few pieces available for collectors to purchase. We are fortunate to have acquired this one. We received the following letter in 2004 when we first acquired the figurine. It is from the great grandson of the original owner:

I have attached a photo of my Great Grandfather [see below]. He is posing with his wife, Mary (Finney) Morton, my grandfather on the left (Carl Willison Morton) and his son (James Ralph Morton). His name was William Walker Morton II. The photo was taken in 1887 in Washington, PA. He was living in Upper Buffalo, PA at the time.

He was a Presbyterian Minister and did extensive traveling throughout the US from the 1880s to the early 1900s. He was born on June 27, 1846 and died on March 1, 1927.

The figurine was made for him in his likeness. I understand he wore the minister's frock on his travels.
-Don Morton

When we first acquired this figurine from Don Morton in 2004, we asked Indian dealer and noted collector of Cochiti figurines to comment on this one for us. His comments are:

The 11-1/2" Cochiti figurine is a classic figure from the 1880s to 1900. Although they were still being made as late as the late teens, I believe this figure to be earlier. For a comparison, please see page 66 of the Clay People book. I believe this figure to be made by the same potter that made those pictured, as well as, the ones in the 1903 photo by Mr. George Pepper. This is a fine and rare example offered at a fair price.
-Bob Gallegos

Condition: excellent condition
Provenance: from the collection of the family of William Walker Morton II, descended through the family to his great grandson, Don Morton, from whom this was acquired.
Recommended Reading: Clay People: Pueblo Indian Figurative Traditions by Jonathan Batkin

Subject: Historic Standing Male Figurine, Circa 1880
Potter Unknown
Category: Figurines
Origin: Cochiti Pueblo
Medium: Native Materials
Size: 11-1/4" tall
Item # C3363A

Florence Browning is one of five sisters, all of whom are recognized as outstanding potters. Her sisters are Clara Shije, Reycita Naranjo, Mary Singer and Elizabeth Naranjo and their mother was Pablita Chavarria-a family famous for blackware pottery.

Florence worked for many years at the Indian Health Service during which time she was unable to produce much pottery. It was only after she retired that she became well-known as a potter. She also demonstrated pottery making in summers at Bandelier National Park. She is published in the catalog of the exhibit One Space/Three Visions, a major tri-cultural exhibit at the Albuquerque Museum in Albuquerque in 1979, and also published in Fourteen Families in Pueblo Pottery by Rick Dillingham.

This wedding vessel is very typical of the fine quality of her work. The construction was meticulously accomplished and the carving of the Avanyu design is clean and precise. The burnishing is almost mirror-like. It is an excellent vessel.

Condition: original condition
Provenance: from the personal collection of Paul and Dorothy Gutierrez of Santa Clara Pueblo
Recommended Reading: Fourteen Families in Pueblo Pottery by Rick Dillingham

Subject: Santa Clara Pueblo Black Carved Wedding Vessel
Artist / Potter: Florence Chavarria Browning (1931-present)
Category: Contemporary
Origin: Santa Clara Pueblo
Medium: clay
Size: 8-7/8" tall x 7-3/8" wide
Item # 25611