Two figures in the foreground stand with their backs to the viewer, looking toward buildings in the middleground. The buildings are built in the pueblo style, with some arched windows and beams jutting out from the roof. A ladder leans against a building in the far left of the composition. The scene is heavily shadowed, by both the buildings and the figures.
Hoerman devoted most of his time to landscapes, particularly focusing on western settings and desert scenes. This print depicts the ancient stone pueblo village of Walpi in northern Arizona.
A blackware bowl with black on black decoration. The bowl is nearly spherical in profile, with a narrow and wide mouth. Around the upper half is a feather design, which looks like individual feathers hanging down from the mouth forming a ring around the circumference.
A fusion of traditional Pueblo pottery techniques with art deco detail, within a black on black art object.
A deep bowl with a wide mouth made of black earthenware. The upper half of the bowl is decorated with a horizontal and diagonal design in a lighter shade of black and rougher texture than the smooth black surface.
A beautiful, functional object made by an award-winning artist from the Santa Clara Pueblo people.
Limestone slab carved bas-relief with six registers. The lower register depicts a chariot procession above fish-inhabited waters. The central three registers depict figures carrying out funerary rites. The top register shows a winged creature with a human face flanked by two writhing dragons and other animals, including two rabbits and a nine-tailed fox.
This magnificent carved limestone slab was originally part of a memorial hall or tomb. It portrays the vertical ascent of the soul of the deceased from earth toward the “Happy Homeland” or heavenly abode of the Queen Mother of the West.
On the lower register of the carving, the soul of the tomb occupant rides in a chariot procession. The fish-inhabited waters indicate his earthly surroundings. In the central three registers the family and friends of the deceased are shown carrying out the proper funerary rites that will insure the success of his journey. The Queen Mother herself, shown as a winged creature with a human face, dominates the top row. She is flanked by two writhing dragons and other heavenly immortals, including two rabbits, who reside on the moon and are shown pounding rice cakes, and an auspicious nine-tailed fox, associated with the sun.
The Queen Mother of the West was the subject of a very popular cult during the Eastern Han Dynasty, when concerns about immortality reached a new and feverish pitch.
A squat, gracefully rounded pot with a mouth that is slightly smaller than the widest circumference of the pot, and a tapered base. The interior is colored white. There is a band of black along the brim. The exterior is decorated with a pattern of alternating squares: brownish-orange squares divided vertically by a white stripe broken by three thin black lines; and white squares divided diagonally with wave-like black shapes.
An example of Pueblo pottery produced in the early twentieth century. It draws on traditional techniques and styles but was probably produced for the booming Native southwestern ceramic market.
A bulbous vessel with a narrow base and wide mouth that is flanged. The vessel is made up of small, glued pieces of wood that are then turned, creating an intricate pattern in the wood's fine, finished surface. The predominate decorations are bands of diamonds and triangles that run around the widest point of the vessel and beneath the flanged mouth.
Large wood vessel with rings of Native American-inspired design patterns
This vessel was made first by gluing together small pieces of different woods and then turning the entire piece, leaving the pattern created by the pieces of wood in the finished surface. Allen was influenced by the Native American pottery of the Southwest and tried to reproduce its forms and decorative motifs in wood.