SAN ILDEFONSO, SAN FELIPE, TAOS & WYANDOT

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      This is a lovely example of Erik’s polychrome designed painted work. Made in 2004, it is a simple and beautiful bowl depicting the Avanyu from San Ildefonso. The inside of the bowl is slipped with red, and mica is added to the clay for some sparkle. Tadpoles and X’s decorate the bottom of the bowl. It is a really nicely made bowl; the painting is excellent.

#SAN5129 - 3 34/” high by 5 ¾” wide
Price: $600

      Erik is the forty two year old son of Martha Appleleaf from San Ildefonso. Both he and his mother are included in FOURTEEN FAMILIES IN PUEBLO POTTERY, and the new Greg Schaaf book on the Northern Pueblo families. Erik's grandmother, Carmelita Dunlap (deceased) was a great influence on his work. Erik is a creative and talented potter. He uses all traditional techniques in his pottery making, but creates unique shapes and often uses interesting green slip in his work. He combines traditional feather patterns with his own interpretations of petroglyphs and animal forms. His pots are nicely shaped - and beautifully polished. We were so fortunate to have a one man exhibit for Erik. What a delightful guest!
      Here is a new example of Erik’s beautiful green on black design work. The painting on this jar is so clean and crisp, and the polishing is terrific. It is a deep polished black background, and the designs show so well. There is a wonderful flare to this jar, so beautifully shaped, and decorated with paintings of feathers and geometric symbols. I like everything about this piece; it is wonderful.

#SAN3139 - 5 ¼” high by 6 ½” wide
Price: $800

      This is a simple but beautifully coiled polished, painted and fired feather jar by Erik. A classic San Ildefonso black on black jar, it is representative of great traditional work.

#SAN31310 - 5 ¼” high by 5 ¼” wide
Price: $550

     What a beautiful shaped bowl by Maria and her daughter in law, Santana.(1909-2002) TWENTY FOUR feathers are polished and painted on this wonderful bowl. Following the death of Julian, their son Adam and his wife Santana helped Maria with the design and firing of her pottery. For fourteen years, Santana helped Maria paint her pots. Pieces made between 1954 and 1956 are signed Maria + Santana, like this wonderful bowl. It is signed on the bottom, in the clay, "Maria + Santana". This is simply stunning. It is in remarkably terrific condition.

#SAN31311 - 4” high by 5 ¾” wide
Price: $2200

     Pauline Martinez was born in 1950. After her marriage to George Martinez, she moved to San Ildefonso. She makes gorgeous black on black pottery. Her work is just exquisite. Her clean painting, lovely designs, and high polish make her work exceptional.
     Here is a small, beautiful feather and geometric vase by Pauline. Her firings are always so well done.

#SAN9714 - 4 1/2" high by 3 1/2" wide
Price: $450

          Russell Sanchez was born at the San Ildefonso Pueblo. He has continued to live there all his life. Russell started making pottery at a very young age. If you could see his pots from when he was thirteen or so - you would be able to tell that a great talent was emerging! Russell was greatly influenced by his aunt, Rose Gonzales, and was futher encouraged by Dora Tse Pe. Like Russell, Dora is also a perfectionist. But Russell is really a self-taught potter. His incising, carving, and polishing techniques are all his own - developed and evolving over many years of hard work.  
          His work is widely accepted by serious collectors of some of the finest Native American pottery made today. He often introduces different materials into the clay while styaing within the traditional construction and firing techniques of pueblo pottery. Russell has won numerous awards and honors in juried shows every year since 1978. He has works in the permanent collections of the Smithsonian Institute, the Millicent Rogers Museum, the Museum of Indian Arts and Culture (Santa Fe) and the Museum of Natural History (Los Angeles). It is an honor to work closely with Russell, and represent him in our gallery.     
     When Russell delivered this jar to me I immediately wanted to add it to the inventory. It is sensational. The color combination of the black sparkly mica work set as a background with the natural tan clay and the high polished red is wonderful. There are three panels of four incised feathers, each one bordered by super fine olive shell Heishi. This polished red area leads down into the area that has the incised triangles and circles. These panels are balanced by three areas of red polished medallions that each has a high grade Kingman turquoise stone in the center. Again, the medallions are bordered by lighter super fine Heishi. Seven Kingman turquoise stones are imbedded as another border on each of the black mica areas. That is 24 stones on just the body of the jar. Not crowded, not overdone, the stones are just perfectly placed. And now we get to the amazing lid. A fantastic creation on its own, it is carved all the way through so light shows on all four sides. Also polished in red, another group of ten Kingman stones decorate this lid. Everything about this lidded jar is unique, creative, and clearly a work of art by Russell.

#SAN5121- 7 ¼” high by 6” wide
Price: $6800 SOLD

     Oh my...this is one of the most magnificent hand coiled bears that we have seen. Made in 2008, it is by far one of the largest bears Russell ever created. The technical skills necessary to create a piece of this size is unique to Russell. This combined with the aesthetic he achieves is masterful. The detail work is fantastic. The coiling, the carving, the incising, the use of an amazing amount of high grade Lone Mountain turquoise is all of the highest degree of excellence. There are EIGHT Long mountain turquoise stones imbedded in the body of the bear, and two eyes. There are TWELVE strands of olive shell and turquoise Heishi imbedded on the back with stunning square turquoise stones, creating a remarkable design across the back of the bear. The detailed incising of San Ildefonso imagery is outstanding. The bear is a symbol of strength, and one can see the power that this piece exudes. It would be a prize for anybody’s collection.

     Known for his various animal figures; Russell has coiled a panther. He is stalking his prey. It is truly magnificent. It has four strands of superfine Heishi imbedded across the back. There are two extremely high grade pieces of Kingman turquoise on both sides. He has incised his trademark dots, and a heart line. The terra cotta shading around the turquoise is beautiful.

     We have never had a black bird from Russell. This bird canteen is polished to a high sheen. There is a strand of natural turquoise Heishi around the neck, and another strand of olive shell and turquoise Heishi around the bottom of the bird. Below that strand is a border of incised feathers. A beautiful high grade Kingman turquoise stone is imbedded in the body and that has a circle of terra cotta coloring around it. Dots have been incised around the stone. There are two holes on each of the wings, representing the canteen shape – and a drinking spout on the back. All the design work fits together wonderfully.

          This is a unique and creative new jar by Russell. The asymmetric lip is accented with the use of his green slip. Two strands of turquoise and off white Heishi underline a border of incised dots. A magnificent high grade piece of Kingman turquoise is embedded in the center of the jar. Again, the use of dots surrounds the stone. As you turn the jar, you will see a row of feathers; each one has a turquoise stone at the tip of the feather. It’s a beautiful composition.

#SAN2122- 4 ½” high by 3” wide
Price: $3600

          Very few people can make such a fantastic effigy bird, and even fewer potters can scale it to size like this. This is a superb piece of art. Russell has coiled the bird, then incised feathers and arrowhead designs. Six turquoise stones are imbedded into the feathers and the eyes. A single strand of superfine Heishi decorates the neck. The head and mouth are actually carved out and accented with black mica slip. Even though it’s a miniature size, he was able to add his trademark dots under the Heishi. There is a little hole beneath the tail in the back, necessary so the bird doesn’t blow up in the firing, What a creation! Working in this size range shows tremendous talent.

#SAN2123- 2 ¾” high by 2 ¼” wide
Price: $2200

          A native of Zia Pueblo, Dora moved to San Ildefonso about 30 years ago. She used to watch her mother, Candeleria Gauchupin and her mother-in-law Rose Gonzales as they made their pottery. They were both great influences on her work. In 1969, Dora made her first pot, which someone purchased and entered in the New Mexico State Fair crafts competition. It won a blue ribbon. She has now received over 100 awards for her work. Dora says, "my work is traditional, but I've made a few little innovations." Though her pieces are classic in shape, she sometimes fires them in two colors - and then inlays coral or turquoise stones. To achieve a different texture and play of light, Dora decorates her pots with patterns of micaceous clay, applied as a slip, so that the flecks of mica glitter through even a black surface. "I like a little change, but nothing drastic. I really think that traditional Indian pottery will die out eventually. So many people are taking shortcuts already." Dora still fires outdoors like her ancestors. "My mother taught me that pottery is sacred - the clay comes from Mother Earth. I ask permission to get the clay: I pray when I finish each step in making a pot." Sitting in her kitchen in San Ildefonso and watching her polish these pots with a polishing stone is a mesmerizing experience. She is certainly one of our great masters of pottery today.
     This exquisite example of Dora’s work was made in the mid 1990’s. It is a marvelous large lidded jar. Measuring 10 1/2” high by 9” wide, it is simple and elegant and shows her remarkable skills as a builder, a carver, and a polisher. This highly polished red jar is lidded with a fitted bear effigy figure. A classic avanyu is carved on the front, and a magnificent turquoise stone is embedded in the eye, accenting her deep carving technique. Dora doesn’t make pieces this size anymore, and this jar is stunning in very way.

#SAN3131 - 10 ½” high by 9” wide
Price: $8400

     Daryl Candelaria is a 42 year old potter from the San Felipe Pueblo. He learned the basics of pottery making from his maternal grandmother Juanita Toledo from Jemez Pueblo and his mom, Sara Candelaria .He creates contemporary shard pottery inspired by prehistoric, historic and contemporary Pueblo designs. “My idea of creating shard pots came from finding broken pottery shards walking among Pueblo ruins and coming across shards around my pueblo. My shards depict prehistoric, historic and contemporary styles of pueblo pottery.” Daryl spent a lot of time researching the pottery styles and designs of San Felipe as well as the other pueblos and tribes in the southwest. What resulted from this research was a distinctive form of pottery making. Using both micaceous and non micaceous clays he actually carves designs from the various villages, to look like individual shards representing the styles of different Pueblos and Native cultures. His design elements range from prehistoric to contemporary motifs. This shard bowl has twenty-one carved and designed shards, and was made in 2008.

#SAN31323 - 7” high by 9” wide
Price: $1200

     Hubert Candelario was born on November 2, 1965. Historically, San Felipe was never active as a pottery center. The San Felipe residents obtained their pottery in trade from neighbors, most often from the Zia pueblo. Hubert began making pottery at the age of nineteen. He graduated from the Phoenix Institute of Technology with an associate's degree in architectural design and drafting.
    His first love was, and still is, the micaceous clay found at Nambe and Picuris. It is with this clay that he now slips his dramatic "swirl” and “holey” pots. For the bodies of his pots he uses local red clay. He then completes the design with a slip of micaceous clay to help create this fabulous color and texture. His pots are totally hand made. The mica radiates and glistens and the end results are so eye catching. Hubert has won numerous awards. His work was prominently displayed at the “Changing Hands" exhibit and catalog from the American Craft Museum in New York City. We are so pleased to have sold one of his large swirl melon jars to the Denver Art Museum for their permanent collection.
    This sculpted clay form by Hubert has over 50 carved circles.  Made in 2004, Hubert told me it is a different shape for him – based on a pear – he calls it his “pear holey pot.” He hasn’t made very many in this shape. It is absolutely stunning. A larger version of the “holey” pot has a prominent place in the permanent collection at the Denver Art Museum. A fabulous poster was created with a photograph of the piece. So time consuming, and difficult to make without breaking, we are always thrilled when one of these pieces reaches our gallery.

#SAN41010 - 4 1/2" high by 4" wide
Price: $2100

     This is the very first HEXAGON shaped vessel we have had coiled from Hubert. It is absolutely amazing. The precision of his cut outs are a bit mind boggling. Look at how even he gets the lines, without having it collapse in the firing. Eye dazzling from any angle ! We are so excited by his careful craftsmanship.

#SAN51020 - 5 1/4" high by 5 1/4" wide
Price: $3200

     Here are to new fabulous mini swirls by Hubert. They are SO well made, and they sparkle with mica.

#SAN21223 -
A) Mini swirl - 1 ¾” high by 1 ½” wide
Price $500SOLD
B) Mini swirl - 1 ½” high by 2” wide
Price $500

     We are so happy to be working with Jamie. He participated in the miniature show, and his work was fantastic. So now he will be a regular with our gallery.      Jamie is an immensely talented young potter, who is also a particularly thoughtful and interesting person. I asked him to put into his own words a bit of a biography. Here is Jamie’s statement:

     I have a strong commitment to building Wyandot pottery. Of most importance to me is retaining an integral sense of form inspired by ancient sensibilities. While my drive is to create new work that speaks to today’s world, my material comes from ancient sources. The ancient aesthetic that has stood the test of time still has the power to awe when beheld by the contemporary eye. I look back to my indigenous roots to guide me in learning values. Looking back to find out how to best live today causes me to look deeper into who I am. I realize that it is important to look back to a time when humans remembered that they where a part of the earth and there was no dualism between people and nature. When I make objects inspired by Great White Pine I feel like I am participating in the flow of nature. Arboreal ancestors are very old and their beauty is what sustains them on this earth. The form that nature makes is a prayer language of glory to the Creator.
     For my personal story, I have had the privilege of growing up watching my uncle, Richard Zane Smith creating his own form of Wyandot pottery. What has remained with me is his desire to retain a quality of form and surface design that is thorough and precise. The perfection that he achieves is not gloss on the surface, rather a spiritually honest, human touched sensibility. I have recently had the opportunity to live in Wyandotte, Oklahoma and study with him for a year. I have learned very much from the experience and have become committed to honing my own style of sculptural vessel form.
     I grew up in the city and since then have spent a lot of time traveling this continent and others. I have become convinced that the rural life is the one for me. I feel that to live lightly and simply on this earth is the way that I can best live out the Creator’s intent for myself. Right now my wife and I, and our two daughters live in an old two-room schoolhouse that my wife’s grandparents attended when they were young. It is in the Ozark mountains of Missouri. We live in a small valley at the point where two creeks meet. It is a beautiful place to live. I am constantly inspired by the ever-changing wooded landscape around me.
     I want to thank all of the individuals who have supported and encouraged me and my family as I have put my time and energy into learning new pottery techniques and new ways of further developing Wyandot pottery.
    This new shape embodies the evolution of the Wyandot kettle form. It is stamped with Jamie’s original Swift Creek style stamp: "Maple Genesis" The neck and foot are accentuated by exposed corrugated coils. The rim is incised with designs inspired by ancient ancestral Wyandot kettles. The entire piece is joined in an organic spiral as if it were a plant form growing right out of the surface on which it sets. Jamie’s work is so unique with so much thought going into the creation of these unique forms.

#SAN01136 - 9” high by 10” wide
Price: $1600

     Jamie has been working on creating tight fitting lids for his bowls, and this one turned out so well. “This piece represents the evolution of style and design. The bowl is stamped in the traditional swift creek style. Instead of carving a stamp out of wood I made the bark stamp out of clay. By mirroring a section of dogwood bark with clay, the living tree helps to tell the story. The base represents the actual physical appearance of the tree while the lid represents the divine creation that is within. Perhaps the lid can be seen as an intuitive rendering of tree cells magnified 1000 times!” The varying colors on the bowl almost look as if a spotlight has been placed on it. It is so gorgeous.

#SAN3156 - 8” high by 8” wide
Price: $2000

     Born in 1955 in Augusta Georgia, Richard Zane Smith is regarded as one of the most unique contemporary potters. Richard Zane Smith is a potter of Wyandot whose remarkable pots consist of small hand rolled coils of natural clays, which inspired by prehistoric corrugated pottery of the Southwest which then is slip painted. His pieces look like beautifully woven baskets – but when one looks closely, you realize that they are actually works of clay, in Richard’s own unique style of corrugation. Richard was inspired by corrugated shards from hundreds of years ago. His work is easily identifiable, as he often adds contemporary intricate designs using fascinating color combinations and added materials like stone and wood.
     Here are a few words from Richard as he explains his interest in the art form. “My art education began as a child at home in Missouri. In the evenings all five of us kids would gather round listening and drawing quietly while Dad or Mom would read wonderful books to us. Clay excited me from high school and all through my art school years though I enjoyed working with all kinds of natural materials, from leather to stone to wood. During these years, investigating my own native (Wyandot) roots became something of an obsession with me. In 1978, I worked as an art instructor at a Navajo mission school in Arizona. It was there that I was first exposed to native clays, and Anasazi pot sherds. Having a rich yet mixed-blooded heritage has been difficult for me at times to sort things out and it still provides its challenges. But I am actively involved with other Wendat/Wyandots who are restoring traditions and reviving our language. I have a dream to help restore to our people the pottery traditions of our ancestors as has happened among the Pueblo peoples of the Southwest.”
     This jar is referred to as “The Alligator Dance” Notice how much movement is seen by the dancers, arms entwined, moving around the rim of the bowl. You can almost feel the motion in the ceremony. The floral patterns below, in the corrugated clay ridges are stunning. The colors work beautifully.

#SAN9122 - 6 ½” high by 8 ¼” wide
Price: $4600 SOLD