Fine line black on white ware; body slipped in white, base and neck interior slipped in red. A simple repeating design meticulously applied in thin black strokes. Fineline ware was revived from prehistoric designs by the China family. Signed in conjoined JC (?).

Fineline black on white; slipped in white all over and decorated with fine, geometric linear design, meticulously applied. Signed “M.Z. Chino, Acoma, N. Mex.”

Red and black on white, slipped in white all over and decorated with deer and heart line design. Signed in ink “Lucy M. Lewis Acoma New Mexico.”

Chaco black on white ware; interior and exterior slipped in white; base and slight neck interior slipped in red. Beautifully executed Mimbres Valley design in black. White color of slip; intricate stepped design similar to the work of Acoma potter family Lewis; signed “Lewis of Acoma.” Paper label attributes pot to San Ildefonso, but perhaps in error.

Red and black on white ware; interior and exterior slipped in white, base slipped in red; simple geometric design in red and black. Purchased from the artist October 1959

Red and black on white ware; exterior slipped in white, neck and base slipped in red; precisely executed geometric design of traditional origin in red and black. Signed C.M. Victorino Acoma NM,” and by same potter as 70.206 (an older bowl, also executed with great precision). Design elements derived from various traditional sources: i.e., stepped elements, Zuni rain bird design, arrows, leaf, Mimbres Valley.

Polychrome ware slipped in red on base and white on top. Crude design applied in red and black. Traditional shape, but made in this size for the tourist trade.

Black on white ware; body slipped in white, base and neck interior slipped in red. Geometric design applied in three horizontal bands. Thin, though not as thin as characteristic of Acoma pottery. Division of design zones derived from Zuni pueblo traditions.

Orange-red and black on white ware; white slip around body, orange slip on base and neck interior. Precise geometric design in red and orange. Design elements similar to those used in prehistoric Sityatki designs.

Red and black on white ware; body slipped in white, base and neck interior in red. Design with flower motif applied in simple manner. Made after 1950 and signed in ink “Acoma N.M.”

Red and black on white ware; slipped in white around body, red on base and neck interior. Geometric design. Mixture of traditional design elements, coil element with stepped motif derived from Zuni rain bird design.

Black and red on white ware; sloppily slipped in white on body, red on interior and base. Simple geometrics and stepped design poorly executed in black and red. Design, shape and execution very primitive: make up of design and thinness of ware suggest Acoma origins.

Black and red on white ware; body slipped in white, base and neck interior in red slip; poorly executed geometric design. Attributed to Acoma.

Brown and black on white ware; stomach and neck slipped in white, base and neck interior in red; large bird and plant motifs surrounded by swirling geometrics. Unbroken outline of swelled stomach, short neck, and constricted mouth. Bird (sometimes identified as parrot) motif and plant motif from traditional designs of nearby Zia Pueblo.

Black on white ware, body slipped in white, base and neck interior slipped in red; geometric design applied with precision.

Red and black on white ware, body slipped in white, based and interior slipped in red. Design applied in neat horizontal bands delineating the stomach, base, and neck areas, this sort of distinction in design familiar prior to the pottery revival of the 1920s and 1930s. The vase shape, however, shows the influence of the tourist trade.

Black and red on white; tan clay body, exterior and base slipped in white; design in black and red. Simple geometric design. The berry-like design is similar to Zia pottery elements, but the tan clay is rare for Zia. Since Acoma and Zia share design characteristics, and Acoma use lighter color clay, could be Acoma ware.

Polychrome ware; body slipped in cream, base and neck interior slipped in red; intricate geometric design in three horizontal zones, delineating the stomach and neck areas, in red and black on cream vase. “Zia” signed in ink on base, but design, shape, and organization more typical of Acoma.

Black and red on white ware, slipped in white on body, black on base and neck interior. Rigidly organized geometric design in horizontal zones. The broken outline of the jar and the division of design zones indicates a Zuni origin, but the thinness of the ware and the clean, well executed design suggests Acoma.

Black on cream ware; light colored clay, slipped in cream on exterior and interior of neck, red slip on base and interior; decorated with precise geometric design, seemingly symbolic. Two handles in shape of small reptiles (lizards?). Design encircling both interior and exterior of neck broken with traditional spirit path. Signed “Damacia” or “Damario.”

Polychrome pot; black and red on cream body; slipped in same clay as body; firing causes mottled effect on body ranging in color from rose to pale beige; simple geometric design; spirit path visible through lines encircling neck. Signed by Adams with her characteristic flower hallmark.

Polychrome pot; cream-colored body slipped and polished; firing causes mottled effect of rose to light beige tones; geometric design in red and black, symmetrically organized around circumference. Uncertainly attributed to a member of the Nampeyo family.

Polychrome pot; cream colored body slipped and polished; firing causing mottled effect of rose to cream tones. Simple geometric design in red and black, symmetrically organized around body of pot.

Black on cream ware; slipped and polished all over. Bowl shaped, smooth and regular, design consisting of conventionalized bird elements on convex surface. Rim pierced and strong attached to be used as a wall hanging. Spirit path evident in line around perimeter.

Black on cream body; slipped and polished; firing caused mottled effect on body of tones from rose to light beige; intricate design in black using symbolic motif. Interior of neck also painted black. Design repeated twice around circumference is derived from the Zuni rain bird design.

Polychrome slipped and polished; firing caused mottled effect of rose to cream tones of surface; geometric design, twice repeated motif in black and red.

Black on cream ware; body slipped in cream, base and interior slipped in red. Geometric design. Pot represents a return to a more traditional Jemez style unlike poster paint wares of earlier in 20th century.

Red and black on cream ware; body slipped in cream, base in red and polished, interior of neck in red. Simple geometric design irregularly applied. Could be a more traditional Jemez pot; triangular motif similar to that used in Santo Domingo.

Red and black on white ware; red slip on base and interior, white slip around exterior. Nicely organized and executed geometric design applied in red and black paints. Elements of design and thinness of ware indicate an Acoma origin, rather than Laguna, although marked in ink “Laguna.”

Red and black on white ware; slipped entirely in white, band of black around rim and base, design in black and red of neat line and geometrics. Elements of design and thinness suggest Acoma, but the opaqueness of the slip and dark clay are uncharacteristic. Possibly Laguna.

Red and black on white; red slip on rim and base, white slip on exterior. Design of simple, but near geometrics and punched rim. Slightly constricted rim. Attributed in ink to Laguna, but has characteristics of Acoma ware.

Red and black on white, exterior slipped in white and interior rim slipped in red. Black band around rim, design covers all of the exterior, even onto the base, of complex geometrics. Though attributed on base to Laguna, is more plausible that this is Acoma ware, since Laguna is typically thicker.

Red ware, black design on polished red body. Simple design applied irregularly. Relatively thin, polished red ware typical of Maricopa ware.

Micaceous ware; tiny flakes of mica visible in surface; unslipped and unpainted. Clay fires to color of old bronze. This type of ware produced at both Taos and Picuris, but Picuris ware tends to be lighted and more often decorated. Decoration consists of parallel bands of incised diamonds, bulbs, and rope-like elements. Signed in ink “Ramita Martinez.”

Micaceous ware, clay with visible specks of mica in surface; fires to color of old bronze with large black firing spots. Signed in ink.

Micaceous ware with flakes of mica visible on surface which is unslipped and unpainted. Signed in ink “Picuris ’57.”

Micaceous ware; clay body unslipped or painted with visible specks of mica, fired to a bright orange color with occasional fire spots. Ware is typical of Taos and Picuris pueblos, with Picuris ware thinner and well fired.

Poorly constructed bowl, black linear design applied irregularly, slipped in color which in a poor firing, turned grey. Base slipped in red with firing spots. Paper label attributes piece to San Felipe and signed “C.M.”

Black on black ware; polished black body with black matte design. Avanyu design around stomach, feather-like design around d neck. Tall vase with swelled stomach, long neck and slightly flared rim; pot has hole in the bottom, probably form use as a lamp base. Signed on bottom “Marie.”

Black on black ware; slipped and polished body to which is applied the design with same slip, left unpolished; feather-like geometric and stepped design. Signed “Marie and Julian.”

Black on black ware; polished body, design in dull matte. Well proportioned and spaced geometric design; angular, rather than curvilinear outline, with constricted neck. Signed “Tonita.”

Black on black ware; polished body with matte design. Scalloped design around circumference. Signed “Desideria.”

Black on black ware; polished body with matte design. Simple, well executed geometric design.

Black on black ware; polished body overpainted with geometric matte design; design on neck of feather-like extensions from horizontal line, design around stomach in traditional stepped geometrics. Signed “Desideria.”

[MISSING???] Black on cream ware, tan clay body slipped in cream, rim and base slipped in red and polished. Design applied in black, bird forms around body, plant forms around neck. The color of the slip, design and condition suggest this may be an early San Ildefonso piece, made at the beginning of the tourist trade era (ca.1875-1900).

Red and black on beige; large body slipped with a thick cream clip; design in rough black and red. Predates introduction of polished black ware.

Black on black ware; polished body with mate design depicting avanyu, the horned serpent.

Polished red ware, incised micaceous war: rim and base slipped in red and polished, band aroundbody slipped in tan. Cata was born at San Juan and relocated to San Ildefonso after marrying Robert Gonzales in 1920.

Polychrome pot slipped in interior, base, and rim with red clay solution, base and rim polished; incised geometric design in red-brown, tan and beige.

Polished red ware; light brown colored clay, slipped on interior and half-way down exterior with red slip which, if smothered during firing turns black.

Polychrome pot; light brown clay; base slipped and polished, interior also slipped with lighter color; incised design in brown, tan, and beige; four indentations around rim; simple geometric design; interior of rim also slipped and polished in red.

Polished red ware; light brown clay, slipped part way down vessel with red slip which, if smothered during firing, causes black spots. Polished exterior; traditional San Juan technique; double spouted pouring vessel. Signed “Tonita.”

Polychrome pot; light colored clay slipped in red; intricate geometric design applied with precision in six colors, style characteristic of Gutierrez family originated in the early 1940s by Lela and husband Van, and continued by son and daughter Luther and Margaret. Rain cloud symbols: overlapping semi-circles with black dots within; lightning arrows; rain symbols: vertical lines suspended from horizontal.

Modern polychrome pot, slipped in red; intricate design applied with precision in six colors. Various symbolic characters: Cochiti figures, rain symbols, bird and reptile figures; geometrics. Characteristic of work by the Gutierrez family.

Polychrome pot; clay body light colored, slipped in red; design applied in six colors; geometric design and avanyu, the horned or water serpent. Style characteristic of the Gutierrez family.

Black on black ware; vessel slipped, polished, and design applied with slip; when fired in oxygen reducing atmosphere polished surface turns glossy black and unpolished becomes the matte design. Simple shaped vessel with stepped geometric design. Signed “Crescencia Santa Clara Pueblo.”

Polished blackware, body of vessel completely slipped, then exterior and handles polished, fired in reducing atmosphere causing piece to burn black. Resembles a basket, with four handles that cross and flattened at the top.

Black on black, body entirely slipped, then exterior and handles polished; design applied with same slip, but not polished. Design a representation of Avanyu, the horned serpent.

Polished black ware; body of vessel slipped and polished and fired in oxygen reducing atmosphere in which the slip turns black. Unusual shape of a bird with incised lines to represent feathers and eyes.

Polished blackware; vessel slipped and polished on interior as well as exterior; fired in oxygen reducing atmosphere in which the slip turns black. Slightly constricted mouth has three handles in form of coyotes.

Polychrome pot, light colored body slipped in orange-red color; well organized geometric design applied in four colors. Style similar to that of the Gutierrez family, but signed only “Santa Clara.”

Polished black ware; slipped, then polished and fired in oxygen reducing atmosphere causing pot to turn black in color. No design.

Black on black ware, vessel slipped and polished, then design applied with same slip but not polished. Seemingly poorly fired.

Polished black ware; body of vessel completely slipped then polished, fired in oxygen reducing atmosphere causing pot to turn a glossy black. Vase with full stomach and flaring rum, two simple handles; non-traditional form.

Polished black ware, slipped, then fired in oxygen reducing atmosphere causing pot to turn black. Non-traditional vase shape with claw-like handles.

Black on black ware; vessel entirely slipped, then polished; linear design applied with same slip but not polished, causing the body to fire glossy and design, matte. Firing poor.

Polished black ware; pot covered with red slip which, when fired in oxygen reducing atmosphere, turns glossy black.

Black on cream ware, interior and exterior slipped in cream, base slipped in red. Black band around rim broken with spirit path; stylized plant forms around body in black. Signed in sgraffitto with same signature as Zia bowl 70.248 “Lupe T. Coriz.”

Red and black on white; interior and base slipped in red and polished. Design applied in red and black and typical of the delicacy and meticulous application of Zia ware. Signed in same sgraffitto signature as 70.247.

Red and black on cream ware; interior and base slipped in red, exterior slipped in cream. Flower motif in red and black. Constricted rim with strap handle. Plant motifs and red paint are 20th century introduction in Santo Domingo.

Red and black on cream; interior and base slipped in red, exterior slipped in cream. Floral motif in red and black around body; strap handle.

Red and black on cream ware; interior and base slipped in red, exterior slipped in cream. Red and black flower motifs, non-traditional, in red and black.

Red and black on cream; interior and base slipped in red, exterior in cream. Red and black flower motifs around body. Though piece is well built, the design is poor quality, executed poorly, with paint drips.

Polished black ware; entire body slipped, polished, then fired; design applied in reddish paint after firing. Shape, slip, and firing relatively crude, probably derived from San Ildefonso and not traditional at Santo Domingo. Flower design also not traditional before 20th century.

Black on cream wear; interior and base slipped in red, exterior slipped in grayish cream. Black geometric design

Polished black ware, entire clay body slipped with clay solution and polished, fired, then painted. Shape crude, constricted and indented rim, probably derived from San Ildefonso blackware designs. Poor quality.

Black on cream ware; interior and exterior slipped in cream, base slipped in red. Black band around rim broken by spirit path; black plant motifs around body. Signed “Santo Domingo Chili Bowl. Taos, 10/59.”

Red and black on cream ware; red polished slip on neck interior and base, cream slip on body exterior. Bird and plant motif in red and black; black lines around rim broken with spirit path. Bird motifs probably derived from Zia.

Black on cream; body slipped in cream, base and neck interior slipped in red; geometric design in black. Spirit path visible in black band around rim. Traditional geometric design of Santo Domingo after early 20th century introduction of plant and flower motifs in black and red.

Black on cream ware; exterior slipped in cream, interior of neck and base slipped in red. Flared and wavy rim; design of traditional Santo Domingo geometrics, but poor quality.

Micaceous ware; clay has easily visible pieces of mica, fires to the color of bronze with occasional black firing spots. This ware was made at both Taos and Picuris, but the Taos ware is heavier and undecorated.

Black on white ware; interior slipped in grayish white, exterior in red. Non-traditional bowl with flared and indented rim. Greyness of slip and non-traditional shape suggest some characteristics of early tourist trade pottery from Tesusque.

Poster paint ware, slipped on interior and fired. Analine or commercial paint used to apply a “degenerate” form of traditional geometric design. Wares produced mainly at Tesusque and Jemez for tourist trade.

Poster paint ware; coiled jar fired then decorated with analine colors and a degenerate version of traditional geometrics. Tourist ware.

Poster paint ware: pinched clay body slipped in red, fired, and then painted in bright analine colors. Poor quality produced for tourist trade.

Red ware, slipped and polished. Non-traditional in every way.

Red and black on white ware; reddish clay body slipped in white on exterior and red on interior and handles. Design of lines and geometrics in red, white, and black. Poor application of paint. Dark color of the clay and small bird figures suggest a poor quality Zia piece.

Red and black on white, exterior slipped in white; interior and base slipped in red and polished. Classic Zia design. Inked note on base attributes the pot as old, rare Zia piece, maybe from 1920s or 1930s.

Red and black on white; body slipped in white, base in red and polished brown; bird and flower motifs in red and black.

Black and red on white ware; interior slipped in red, exterior slipped in white. Simple geometric and flower design.

Red and black on white ware; body slipped in white, interior in red, and base in dark red or brown. Design of bird and deer with heart line motif in traditional enclosure, also traditional division between body and neck decoration, using thick line (onane) which unclosed for spirit path. Poorly executed, but all elements characteristic of Zuni ware.

Black (brown) on white ware; exterior slipped in white, design in brown, medallion-like element with scalloped trim, similar to Zuni design forms with Zuni-like differentiation between body and neck areas. Conjectured to be Zuni pot, since Zuni Pueblo ceased production of traditional ware in about 1920 and small amount of later ware was of poorer quality.