> > Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold
Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold

Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197 Sold

$ 1,500.00

Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956) #1197

Description: #1197 Native American, Acoma Poly Chrome Pottery Olla, Loretta Garcia (Acoma, B. 1956), featuring a geometric pattern; pattern includes red rectangles alternating between a white rectangle with black "X" ; signed on base by Loretta Garcia; fourth quarter 20th century.

Dimensions: height 5.25 in. x diameter 6.5 in.

Condition: Excellent Condition for age

"Loretta Garcia, "U-Wi-Nit", was born into the Acoma Pueblo in 1956. She was inspired and encouraged to learn the art of pottery making by her mother, Marie Torivio. Marie taught Loretta the fundamentals of making pottery the traditional way.

Loretta specializes in hand coiled traditional pottery. She hand coils many different shapes and sizes of pottery. She paints geometrical and traditional designs on her pottery. Loretta also paints on ceramic pottery. "I am proud to be able to continue the tradition that my ancestors began many years ago. It brings peace to my mind knowing that I am contributing to their legacy," Loretta said. Loretta signs her pottery: L. Garcia, Acoma.

Loretta is related to Nelda Lucero (sister) and Leslie Garcia" (daughter). (Source: Historic Cameron Trading Post)

“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 strik

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