Native American water jar signed G.Chino Acoma Pueblo tribal ≈6”x7” Auth. ,500

Description

WE ARE NOW ENTERING THE REAL INTERESTING STUFF IN THE BARN*!
Parrot polychrome jar signed G. Chino Acoma N.M. Native American Approx. 6”x7” Pueblo pottery Authentic Marie Chino’s daughter Grace Chino rainbows Native clay 1929-1994 Water Olla jar made with coil and scrap method handbuilding using natural, vegetal, and mineral sources ,500
NO RESERVE!
This pot is signed by the daughter of Marie Chino’s daughter, Grace, 1929-1994, following directly in her mother’s footsteps by experimenting with the vessel shapes and with the designs she used.
This is the only piece of hers in this box and there’s no reserve!
Get in early on the bidding!
Here is what we found on the internet:
Permanent collections featuring her work include the Peabody Museum, The National Museum of the American Indian, Harvard University, the Brookly Museum and at the Albuquerque Museum.
Native American, Vintage Acoma Pottery Jar, by Grace Chino (1929-1994). Acoma polychrome water jar or 'Olla' with bird design, by Grace Chino.
Condition: Excellent for age
Grace Chino (1929-1994) of Acoma Pueblo and her sisters, Carrie Chino Charlie, Vera Chino Ely and Rose Chino Garcia, are daughters of Marie Z. Chino and all of them are exceptional potters, as was their mother. Grace was a highly respected potter who made traditional Acoma pottery, using native clay, temper, slips, and paints. Grace's vessels were consistent in wall thickness and her designs were painted with utmost care. Reference: Southern Pueblo Pottery: 2,000 Artist Biographies by Gregory Schaaf.
“Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive.
Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features.
Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber.
Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares.
Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result.
Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)
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