According to Duane Anderson, author of When Rain Gods Reigned: From Curios to Art at Tesuque Pueblo, sets of 3 rain god figurines based on the Chinese-influenced "see, hear, speak no evil" form appeared between 1900 and 1925. Less than a dozen sets were found and examined by Anderson during his period of research and only a fourth of them had pots on their laps. He found the earliest set located in the collection at the Heard Museum in Phoenix. That set was reportedly found wrapped in a 1907 newspaper. Anderson speculates that most of this style was made between 1900 and 1910.

This set, from the Rosenak collection, appears to have been made by different potters as the facial features are different. This is not unusual in that most of the figurines were sold as individual items rather than as complete sets. Collectors have sometimes spent years finding all three to complete a set. This set also features pots in the laps of all three figurines. The "see, hear, speak no evil" sets with pottery jars in their laps are the rarest of the style.

Condition: original condition
Provenance: from the collection of Chuck and Jan Rosenak, renowned collectors and authors of Navajo folk art.
Recommended Reading: When Rain Gods Reigned: From Curios to Art at Tesuque Pueblo by Duane Anderson

Title: Tesuque Pueblo "See, Hear, Speak no Evil" Rain God Figurine Set
Potter Unknown
Category: Figurines
Origin: Tesuque Pueblo
Medium: clay, pigment
Size: 6-3/4" tall
Item # 25602

Silas and Bertha Claw broke with Navajo pottery tradition and the customs of their fellow tradesmen. Their forms remained true to tradition but they used an appliqué technique for design elements and colorful oil or acrylic paints for highlights. They were of the Shonto/Cow Springs region of the Navajo Reservation. Silas passed away in 2002 but we have found no record of Bertha passing away.

Around 1968, Silas began working in clay even though pottery making, like basket making, was considered women's work. Bertha assisted him from the very beginning. The Claws made a variety of pottery shapes: traditional-style cooking jars, wedding vases, triple-spouted jars, and ceramic beads.

It is not known which one did which part of the production but it is believed Bertha would form the vessels and Silas would decorate them with a variety of appliquéd and incised plant and animal motifs-usually in high relief and occasionally in full round. These motifs depicted a wide range of subjects that included cactus plants and blooming yuccas, oak leaves with acorns, ears of corn, a menagerie of domestic animals, and horned toads. Silas often applied oil paint in a range of colors to portions of the appliqués to make them even more realistic. He then would coat the vessel with varnish.

This wedding vessel has a horse on one side and a cow on the opposing side, both of which are fenced into a corral. Interestingly, each animal has three legs visible but it is assumed that the fourth leg of each is behind one of the others. The vessel was coated in varnish after completion and signed on the underside with the joint signature S. B. Claw.

Condition: original condition
Provenance: from the collection of Chuck and Jan Rosenak, renowned collectors and authors of Navajo Folk Art.
Recommended Reading:
- Navajo Folk Art: The People Speak by Chuck and Jan Rosenak.
- The Navajo Pottery of Silas and Bertha Claw by Ed Dobbins and Scott C. Russell, American Indian Art Magazine, Spring 2007. Vol. 32, No. 2.

Title: Diné (Navajo) Wedding Vessel with Appliqué Design of a Cow and Horse
Potters: Silas and Bertha Claw
Category: Contemporary
Origin: Diné - Navajo Nation
Medium: clay, pigment
Size: 7" tall x 4-1/2" diameter
Item # 25605

Silas and Bertha Claw were of the Shonto/Cow Springs region of the Navajo Reservation. Silas passed away in 2002 but there is no record of Bertha passing away so it is assumed she is still alive. Around 1968, Silas began working in clay even though pottery making, like basket making, was considered women's work. Bertha assisted him from the very beginning. The Claws made a variety of pottery shapes: traditional-style cooking jars, wedding vases, triple-spouted jars, and ceramic beads.

It is not known which one did which part of the production but it is believed Bertha would form the vessels and Silas would decorate them with a variety of appliquéd and incised plant and animal motifs-usually in high relief and occasionally in full round. These motifs depict a wide range of subjects that includes cactus plants and blooming yuccas, oak leaves with acorns, ears of corn, a menagerie of domestic animals, and horned toads. Silas often applied oil paint in a range of colors to portions of the appliqués to make them even more realistic. He then would coat the vessel with varnish.

This vessel features two horned toads on opposing sides and two colorful and blooming cacti on opposing sides. The vessel was coated in varnish after completion and signed on the underside with the joint signature S. B. Claw.

Condition: original condition
Provenance: from the collection of Chuck and Jan Rosenak, renowned collectors and authors of Navajo Folk Art.
Recommended Reading:
- Navajo Folk Art: The People Speak by Chuck and Jan Rosenak.
- The Navajo Pottery of Silas and Bertha Claw by Ed Dobbins and Scott C. Russell, American Indian Art Magazine, Spring 2007. Vol. 32, No. 2.

Title: Diné (Navajo) Wedding Vessel with Appliqué Design of toads and cacti
Potters: Silas and Bertha Claw
Category: Contemporary
Origin: Diné - Navajo Nation
Medium: clay, pigment
Size: 6-3/4" tall x 4-3/4" diameter
Item # 25604

This painting is certainly of the early 20th century time and was most likely painted by one of the four major painters from San Ildefonso Pueblo—Julián Martinez, Romando Vigil, Richard Martinez or Abel Sanchez. The feather headdress is a typical item seen in San Ildefonso paintings and the yellow paint is identical to the yellow used by Julian Martinez in the painting of an Eagle Dancer figure. The painting is not signed but perhaps a signature was cut off so the image would fit a certain frame.

The painting style is beautifully executed. It is interesting that the artist chose to show a damaged bow string which negated the hunt the young warrior was pursuing. Humor is not often witnessed in these early pueblo paintings.

Condition: appears to be in original condition although it has not been examined out of the frame.
Provenance: from the collection of a Santa Fe resident
Recommended Reading: Modern by Tradition: American Indian Painting in the Studio Style by Bruce Bernstein, et al

Original Painting of an Indian in a Failed Hunting Event
Unidentified Artist
Category: Paintings
Origin: San Ildefonso Pueblo
Medium: watercolor
Size: 10-1/4" x 13-1/4" image; 13-7/8" x 16-7/8" framed
Item # C3342C

Julián Martinez is best known for painting the pottery of his wife, Maria Martinez, but he was an accomplished painter as early as 1920, often depicted pueblo dancers and geometric imagery. Once he became totally involved with painting Maria's pottery there was little time for painting easel art.

He was particularly fond of painting warriors on horseback, often changing little but the imagery on the shield or perhaps the body paint on the Indian. He also painted single pueblo dancers such as this Eagle Dancer.

Martinez's paintings were among those selected by Mary Jane Colter to decorate La Fonda Hotel in Santa Fe. He received several commissions for murals at the Santa Fe Indian School; Mesa Verde National Park, Colorado (1935); and at the School for Advanced Research in Santa Fe.

Condition: appears to be in original condition although it has not been examined out of the frame.
Provenance: from the collection of a Santa Fe resident
Recommended Reading: Modern by Tradition: American Indian Painting in the Studio Style by Bruce Bernstein, et al

Title: Original Painting of a San Ildefonso Pueblo Eagle Dancer
Artist: Julián Martinez (1885-1943) Pocano - Coming of the Spirits
Category: Paintings
Origin: San Ildefonso Pueblo
Medium: watercolor
Size: 9-1/4" x 11-1/4" image; 12-7/8" x 14-7/8" framed
Item # C3342B

It can be said that Tomás Vigil's was of the style of most early 20th century pueblo paintings, that is it was simple, two-dimensional painting. He outlined his intention in pencil before beginning to paint. His colors are strong and show much contrast. His figures generally show considerable action.

Pan-yo-Pin (1889-1960), as he signed his paintings, passed away before the resurgence in Native art occurred in the 1960s, with strong interest witnessed in the 1980s and again in 2005. This interest continues today but works of many artists who passed away around the mid-20th century are not often seen because many of those purchases were not considered important and were not sufficiently protected. Fortunately, this one by Pan yo Pin survived.

This painting is typical of the style painted by several Tewa Indians, especially Julián Martinez and others of that time. The Indian appears more Plains Indian than Pueblo Indian. Perhaps it's the feathers in the hair and on the horse's mane and the face paint, neither of which one associates with Pueblo men.

Condition: appears to be in original condition although it has not been examined out of the frame.
Provenance: from the collection of a Santa Fe resident
Recommended Reading: Modern by Tradition: American Indian Painting in the Studio Style by Bruce Bernstein, et al

Title: Tesuque Pueblo Original Painting of an Indian on Horseback
Artist:Tomás Vigil (1889-1960) Pan-Yo-Pin
Category: Paintings
Origin: Tesuque Pueblo
Medium: watercolor
Size: 11-1/4" x 9-1/4" image; 14-7/8" x 12-7/8" framed
Item # C3342A

Since Nampeyo of Hano's era of making pottery at Hopi House at The Grand Canyon, the Hopi have made small souvenir pieces for tourists. This small bowl is typical of such items. It was as carefully made and as carefully decorated as any major piece of pottery. The interior of the bowl is decorated with a full corn plant with developed ears of corn. The exterior is designed with a series of clouds. On the bottom is written, in pencil, Trading Post Second Mesa Hopi Res. Ariz. 200 Jan 22, 1963.

Condition: very good condition
Provenance: from the collection of Jeffrey Trent of Nevada

Title: Hopi Small Dish with Corn Plant Design
Potter Unknown
Category: Contemporary
Origin: Hopi Pueblo
Medium: clay, pigment
Size: 1-1/2" deep x 5" diameter
Item # C3310V

We originally purchased this small bowl in 2005 from Dominguita Aguilar, a Santo Domingo resident with whom we have been friends for a long time. She told us that this was made by Peringrina Aguilar, her mother. I have not been able to find any published reference to this potter, so I do not know what period she worked. The bowl is signed with the initials P.A.N. and S.D.P. (Santo Domingo Pueblo) and a corn stalk image.

This is a fine Santo Domingo small bowl that follows the pueblo's traditions in every aspect of materials, construction and design. The main body is decorated in black vegetal paint and red mineral paint over the cream-colored rag-wiped bentonite slip.

The design consists of rectangular boxes in which a mirror image design is discernible. If one starts with the black-stacked triangles as the center of the design, then the remaining design mirrors outward from there. Double framing lines near the underbody are penetrated by a traditional ceremonial break that goes through the entire design element. A black rim, with a ceremonial break, and red underbody complete the design.

Condition: original condition
Provenance: purchased from Dominguita Aguilar in 2005
      ex coll Jeffrey Trent of Nevada
Recommended Reading: A River Apart: the Pottery of Cochiti and Santo Domingo Pueblos by Valerie K. Verzuh

Title: Kewa (Santo Domingo) Pueblo Small Polychrome Bowl
Artist / Potter: Peringrina Aguilar
Category: Contemporary
Origin: Kewa Pueblo (Santo Domingo)
Medium: clay, pigment
Size: 2-1/2" deep x 4-7/8" diameter
Item # C3310U

Thomas Tenorio is of the Aguilar family from Kewa Pueblo. He generally makes very large pottery jars and bowls but apparently early in his career, he made miniatures such as this one. Tenorio learned the art of pottery making by interviewing potters, reading books and by trial and error. For smaller pottery such as this one, he fires outdoors in the traditional manner, but for larger pottery he fires in a kiln similar to the outdoor bread ovens. His larger pottery is therefore protected from wind and fires without fire clouds.

Condition: structurally in excellent condition but there are two scratches and dings that are not noticeable because they are near the bottom of the pot.
Provenance: Edward Busch collection of California
Jeffrey Trent collection of Nevada

Title: Kewa (Santo Domingo) Pueblo Miniature Cylindrical Pictorial Pot
Artist / Potter: Tom Tenorio (1963-present)
Category: Contemporary
Origin: Kewa Pueblo (Santo Domingo)
Medium: clay, pigments
Size: 1-3/4" tall x 1-1/4" diameter
Item # C3310ZD

This small turkey figurine is signed Norma Jean without the addition of a surname. It is constructed from native Acoma clay and painted with mineral and vegetal paints. What is really charming about it is the way the artisan placed the waddle on the turkey's chest rather than on its neck. Perhaps she is a young potter.

Condition: the piece is well constructed and in excellent condition.
Provenance:
- Private Collector, Toronto, Ontario, Canada
- Jeffrey Trent collection of Las Vegas, Nevada
Recommended Reading: Collections of Southwestern Pottery: Candlesticks to Canteens, Frogs to Figurines [SOLD] by Allan Hayes, et al.

Title: Acoma Pueblo Polychrome Turkey Figurine
Artist / Potter: Norma Jean
Category: Figurines
Origin: Acoma Pueblo
Medium: clay, pigment
Size: 2-1/4" tall x 3-3/4" front to back
Item # C3310ZA

The Pasikiapa Katsina is quite similar in appearance to the Hopi Velvet Shirt Katsina and this is explainable. It appears that the Zuni adopted this Katsina from the Hopi during the 1930s. The Zuni Pasikiapa Dance features a line of male Katsinas accompanied by a single female who functions as the drummer.

To quote Barton Wright:

"The Kachinas are led by an impersonation who bears a definite resemblance to the Hopi Tonei-nili, a side dancer for their Navajo Kachinas. The Hopi Tonei-nili was inspired by the Navajo Gray God, or Water Sprinkler (Franciscan Fathers 1910, 384), and the Zuni Pasikiapa Mosona appears to be closer in form to the Hopi version than to the Navajo (Wright, plate 26c). The kachinas who make up this dance set are apparently derived from several sources, with the main dancers being of Zuni origin, led by an impersonation originating from the Navajo, and accompanied by a drummer, Pasikiapa Tese Akenona Okya (Wright, plate 26d), patterned after a Hopi maiden."

So, in summary, the Hopi created a katsina in honor of a Navajo supernatural and the Zuni adopted the katsina from the Hopi and made it one of their own. This is an interesting display of the inter-relationship of the various Native tribes' beliefs being shared by other tribes. The Pasikiapa Dance is a very popular dance these days in the winter dance season and is a dance presented by one of the kiva groups after the Shalako Ceremony.

Condition: whatever the katsina held in his right hand is missing; otherwise it is in very good condition.
Provenance: from the collection of Chuck and Jan Rosenak, renowned collectors and authors of Navajo folk art.
References:
Franciscan Fathers, An Ethnological Dictionary of the Navajo Language, St. Michaels, Arizona, 1910.
Wright, Barton. Kachinas of the Zuni, Northland Press. 1985.
Burkhardt, Chad. Personal conversation, 2013.

Title: Zuni Pueblo "Pasikiapa" (Wide Sleeves) Katsina Doll
Carver Unknown
Category: Traditional
Origin: Zuni Pueblo
Medium: mixed media
Size: 11" tall
Item # 25603

This is most likely a Laguna Pueblo polychrome olla that is truly an exceptional work of art. This exemplary olla dates to circa 1920, and is a superb example of the potter's art.

The design field is broken into three horizontal sections, which perfectly accentuate and compliment the form of the jar. The upper band, below rim top, extends to the upper shoulder, with parallelogram bars and floral elements with berries.

The middle design is a continuous bold wide zigzag band that is the focal design element of the vessel. It is filled with black checkerboard, orange checkerboard and overlapping fine line elements.

The lower band of design is similar to the upper band but on a larger and bolder scale.

The underbody is orange. Double framing lines between the design and underbody do not have ceremonial line breaks. The jar has a concave base, brown rim and orange painted on the inside lip to a depth of about 3 inches. There is a slight tilt to the posture of the jar.

This work is perfectly typical of Laguna ceramics, in form, construction, materials, and design execution. The parallelogram bars are very typical of Laguna Pueblo design elements, as are the plants with berries. The plants with berries are a feature taken by Laguna potters to Isleta Pueblo when they migrated there in 1879.

This jar is marvelously patinated, with a smooth, semi-gloss sheen; a complexity of depth, color, and surface completely unattainable save through the intricacies and subtleties of an aged surface, evidence of many years of service within the pueblo.

Condition: the jar is in very good condition with wear expected on a jar of this age. The owner stated that a small rim chip was repaired but there is no clear evidence of that through UV examination.
Provenance: from the collection of a Santa Fe resident.
Recommended Reading: Acoma and Laguna Pottery by Rick Dillingham

Title: Laguna Pueblo Large Polychrome Olla
Potter Unknown
Category: Historic
Origin: Laguna Pueblo
Medium: clay, pigment
Size: 10-1/2" tall x 11-1/4" diameter
Item # C3343A

Tony Abeyta has painted in a number of styles over the past few years. He is a creative artist and ventures into new styles and new subjects constantly. We have posted dramatic landscape paintings, colorful Yei figure paintings, and black-and-white imagery in the past.

This is one of his earlier paintings. It features an eagle feather, a most important symbol for Natives, as the central item. Surrounding the eagle feather are four Navajo Yei faces. On the edges of the canvas are images of crescent moons—celestial objects also being most important to Native cultures.

For those who like Abeyta's earlier imagery, here is a chance to acquire one. This one is probably from the 1990s and is in original condition. The canvas has been framed in a wood frame outlining a linen liner.

Condition: original condition
Provenance: from the estate of a Colorado collector
Recommended Reading: 100 Artists of the Southwest by Douglas Bullis

Title: Original Painting on Canvas of Navajo Imagery
Tony Abeyta (b.1965)
Category: Paintings
Origin: Diné - Navajo Nation
Medium: oil on canvas
Size: 45-1/2” x 31-1/2” image; 51-1-2” x 37” framed
Item # C3341

Special Exhibit opened this evening (cick here to view the show now!)  A collection of Cochiti Pueblo storytellers, nacimientos (nativity scenes), and other figurines from Pueblo potters of the past few decades.    

An example figurine is shown left.  Although we don't know who made this figurine, we do know it was a Cochiti Pueblo woman.  For more information on this specific figurine, click here to view now: Historic Cochiti Pueblo Effigy Pitcher with Animal Head

The interior of the neck of this large magnificent jar is painted black with a narrow band that is left in the matte state, not polished. It has been noticed that jars with narrow black bands inside the rim tend to be earlier than jars with wider bands. This is a distinctive trait of Zuni Polychrome jars starting around 1870.

The bottom area of the jar is painted the traditional black that was transitioned from the previous red underbodies starting as early as 1850 and approaching completion around the late 1890s.

The predominately rounded shape of the jar is typical of Zuni Polychrome jars of the 1870-1880 periods. At the same time, the strong puki flexure that existed in the Kiapkwa periods is noticeably lessened on this jar but is still evident to the touch, something noted starting around 1870.

The design layout on this jar is typical of that which began in the 1870s, which is inclusion of a beautifully executed neck design with the main body design being divided horizontally by a band of birds encircling the mid-body of the jar. The previous use of a vertical rectangular design being used as dividing the mid-body was replaced by a beautifully large rosette or medallion at this time. These rosettes appeared around 1870. They have been attributed to Spanish rosettes carved into furniture or to the sunflower painting on the Zuni Salimopiya Katsina face.

The main body design features large capped spirals above and below the band of small red birds that originated in the pre-1850 periods but continues even to today. They have sometimes been called volute elements.

Based on information above, it is determined that this magnificent jar was made in the period around 1880, possibly as early as the 1870s.

The information presented here is derived from the inclusive 600-page book published in 2008 exclusively on the pottery of Zuni Pueblo by Dwight Lanmon and Francis Harlow. This is a comprehensive study of Zuni pottery and is an invaluable research resource. It is from such research that it is now easier to estimate the date a specific vessel was made.

Condition: When the jar arrived at Adobe Gallery, we noticed two hairline cracks from the rim running vertically down the body of the vessel on opposing sides. We had the cracks professionally stabilized to prevent further damage. There is no other damage or repair to our knowledge.

Title: Zuni Pueblo Polychrome 19th Century Olla
Potter Unknown
Category: Historic
Origin: Zuni Pueblo
Medium: Native Materials
Size: 11" tall x 15-1/8" diameter
Item # C3122

Things are looking a lot like Valentine's Day around Adobe Gallery. 

Do you need some ideas for a Valentine gift? 

Take a look at our jewelry for starters (click here to view now).

Congratulations to the winners of the Annual Canyon Road Holiday Decorating Contest.!

While holiday décor is still blossoming over much of Santa Fe, Canyon Road is already in full bloom. Holiday spirit bursts from every entrance, inviting visitors to celebrate the season along this magical stroll through a local Winter Wonderland.

In light of all the beauty from the galleries and stores that line Canyon Road, it is no wonder that Simon Brackley from Santa Fe's Chamber of Commerce had a difficult time judging this year's Holiday Decorating Contest. He said that Canyon Road had the best decorations that he had seen on the road, ever. Adding to the décor was the spirit that fills the road, with many businesses serving hot cider, hot chocolate and cookies to visitors during the day.

After seeing so much holiday spirit on Canyon Road, Simon and the Canyon Road Merchants Association were honored to name the winners of the Holiday Decorating Contest during the First Annual Canyon Road Merchant Association Holiday Party at Ventana Gallery on the evening of December 14. While all of the decorations were stunning, three businesses stood out.

Without further adieu, [on of]  the winners of this year's Holiday Decorating Contest:  Runner UP:  Adobe Gallery - If ever a place seemed as if it should be featured on a holiday card, then Adobe Galley would be that place. Owned by Alexander E. Anthony, Jr., this gallery features a stunning front entrance. Wreaths and greens, Red Berries, Holiday Ribbon adorn the entrance, and the lights at night only add an additional touch of sparkle, making the Adobe Gallery a place that you don't want to miss.

Congratulations to [the] winners, and to all of the participants along Canyon Road, for enriching everybody's lives with the Magic of the Holidays. We hope that everybody has a chance to not only stroll Canyon Road and see these amazing displays firsthand, but also take the time to see all of the other fabulous decorations from our merchants.

Happy Holidays from all of us at the Canyon Road Merchants Association.

(photo courtesy Canyon Road Merchants Association)

Quincy Tahoma 1917-1956 Water Edge (click here to view his biography now)

It was while at Santa Fe Indian School, Quincy Tahoma developed his unique painting style. After WWII, he established himself as a full-time artist and painted a wide variety of subject matter but was perhaps best known for his dynamic action filled paintings.  He also painted pictures full of humor.

His signature included a vignette, a miniature scene which depicted what happened after the action in the painting (Lester 1995).  

Quincy Tahoma died a tragic accidental death at a very young age.  He was only 39 years old.

Several weeks ago Robert Tenorio, a well known potter of Kewa Pueblo (Santo Domingo), paid us a visit here at Adobe Gallery as he does from time to time. On this particular occasion, however, Tenorio came bearing a once in a lifetime gift only offered to a small number of people outside the pueblos.

He pulled, from a grocery size paper bag, several plastic containers full of various colors of clay slips, yucca brushes that had been chewed at the tip, and four pre-fired pottery items. One large water jar that he (Robert Tenorio) was working on and three smaller bowl shaped vessels. He laid all four pottery items on the counter around Al's desk and began painting his pot.

"Well..." he said, as the three of us stood there in awe of what we were witnessing. "Paint!" Al and Todd were being offered the opportunity to paint their own bowls made by Robert Tenorio himself! Al immediately painted a flower as if he had decided long ago what he would do if he had ever been given the opportunity. Todd took a little more time to think about what to paint. (Comment about what design you would have painted!)

Robert Tenorio took the four pots home, fired them, and returned them to us the following week. He gave them to us as gifts. Robert told us to pat egg whites around the bowls something, at first, that we didn't understand, but, after seeing them, it left the bowls with a shiny coat almost as if they had patina; the egg whites may also serve a protective purpose.

Pictures of the process and finished product have been posted in our Facebook photo gallery if you have an interest to take a look.

It was an incredible experience that we are humbled and excited to have partaken in.

We were curious, too, if you knew of another reason for coating the bowls in egg whites we are interested in your thoughts.

Katsinas are pueblo religious figures that represent anything relating to the natural world or the cosmos.  Male members of the Pueblo may dress up as a particular katsina during religious ceremonies out of respect for the katsina, and their powers (i.e. bringing rainfall, protection, or fertility).  Katsina dolls are given twice a year, every year, to the girls of the pueblos and though every pueblo maintains these traditions only the dolls of Hopi pueblo, and occasionally Zuni, are given away or sold, outside of the pueblo itself.

We have received, and have recently posted, 18 katsina dolls to the website; 17 from Hopi Pueblo and the last from Zuni Pueblo.  All 18 of the katsinas are from a single collection and were either purchased or given as gifts by the original owner in 1959 or 1960.  The collector made several visits to Hopi Villages to witness various katsina dances during this time period.  They were all once the property of young girls given, in tradition, during the religious ceremonies.

By going to the home page of our website and clicking on special exhibits and shows you will find a show created specifically for this collection (as long as it remains active).

Let us know what you think of the dolls and which of them might catch your eye and why?