Collection of Tony Da Vessels

These examples beautifully show how Tony Da's work transcends utilitarian limitations and becomes a pure art form.

Tony Da pronounced as "Day"

The art form represented by the vessel on our front cover cannot be classified as a simple pot. Precise, sure-handed, incised intaglio and cameo detail embellished with gem quality turquoise and topped with wrought silver adornment prove the artist's extraordinary talent. It is almost incredible that such consummate artistry is the product of five years as a potter. Very few artists are born with the heritage of an ancestry distinguished for superlative quality and character in the same field.

We feel that the future will qualify Tony Da as the root of a new family tree in the garden of famous potters, born of the seed of Maria and Julian Martinez. On a foundation of the best traditions of San Ildefonso pot making, our young, gentle and attractive artist sets no restrictions to his new-found innovative genius.

Mary Hamilton, Scottsdale, admires her latest Tony Da acquisition.

Maxwell Museum, Albuquerque, Shows 7 Distinguished Potter Families

One of the most prestigious exhibitions designed to exalt the art and culture of the Indian pueblo people of the Southwest is now on display at the Maxwell Museum of Anthropology, on the campus, University of New Mexico, Albuquerque, New Mexico.

The pottery of seven notable and distinguished families is displayed and catalogued in a setting designed to qualify this exhibit as one of major importance. The one hundred page catalog with 160 black and white illustrations, plus 7 plates in full color is available from the Museum, (zip code 87106), at $3.50 per copy. The show titled: 7 Families in Pueblo Pottery, opening May 12, will be open to the public through September 30. 7 Families in Pueblo Pottery traces the developments in style and technique in pottery making from generation to generation among seven Pueblo families. The pieces selected for exhibit represent a nearly complete chronological sequence of the potters art within each family. The text of the catalogue traces the history of each family as far back in time as the oldest living member can recall, and provides statements made by each artist about his or her individual family work. Pottery making is an ancient art among the Pueblos and the fundamental process of pottery making has remained the same through time although style and design have changed as the exhibit documents. The examples of contemporary pottery on display give some measure of the diversity of current pueblo ceramics and will hopefully serve as an inspiration to young potters to continue their traditional art.

THE FAMILIES

Maria and Julian Martinez, San Ildefonso. This family of San Ildefonso is noted for lustrous blackwares especially the famous matte black on black style developed in 1919 by she and her late husband Julian. They also work with very fine redwares and polychrome. Younger members of this family (Tony Da) are engaging themselves in innovative ceramic work with traditional roots.

Rose Gonzales, San Ildefonso Pueblo. Rose is noted for very fine carved work at San Ildefonso Pueblo. She is credited with being one of the first to do carving at this pueblo. Her descendants Tse-Pe and Dora are involved in some of the most innovative work being done at San Ildefonso.

Sarafina Tafoya, Santa Clara Pueblo.

Tradition set by late mother (Sarafina) of three noted potters. The three separate families have each developed very distinctive styles.

Guiterrez, Santa Clara.

This small family is noted for exquisite polychrome work and superior graphic designs. This style has been handed down for many generations. While they work in pieces of all sizes, they are particularly famed for their miniatures and animals.

Nampeyo, Hopi.

Nampeyo herself is credited with the revival of Hopi pottery at the turn of the century. The family styles are very individual being influenced by pottery sherds from local ruins.

Lewis, Acoma.

Noted for simple geometric designs and the use of the Mimbres designs as suggested by the Museum of New Mexico and Dr. Kenneth Chapman.

Chino, Acoma.

Noted for improvising traditional designs and innovation in design work.The collection of pottery on exhibit took two years to assemble. Contributions to the exhibit are from the artists themselves, private collections, and museüms. The exhibit could not have been arranged without the generous and patient cooperation of each family. From the beginning, they were committed to the theme and intent of the show. It is essentially theirs. Their comments in the text of the catalogue will perhaps enable us to see the development of the potter's craft through the eyes of the artists themselves.