Polychrome jar with star and geometric design 
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Lisa Holt and Harlan Reano, Cochiti and Santo Domingo, Polychrome jar with star and geometric design
Artist: Lisa Holt and Harlan Reano
Pueblo: Cochiti and Santo Domingo
Dimensions: 9 in H by 7 in Dia
Item Number: xxcof7160
Price: $ 2500
Description: Polychrome jar with star and geometric design
Condition: Excellent
Signature: Lisa Holt Cochiti 17 Harlan Reano Santo Domingo NM
Date Created: 2017
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Lisa Holt &
Harlan Reano


Cochiti/Santo Domingo
Lisa Holt and Harlan Reano
Polychrome jar with geometric design
 

Half Cochiti (on her mother’s side), Lisa Holt was born into a well-known multi-generational family of potters in 1980. Her grandmother is Seferina Ortiz, her mother Juanita Ortiz and her uncle Virgil Ortiz. Lisa has been making pottery since 1999 and specialized in creating human and animal forms, following long Cochiti tradition. These days she's been making large beautiful ollas. She makes all her pots the traditional way: by hand-coiling the forms from materials she processes herself.

Born in 1976, Harlan Reano is from Santo Domingo Pueblo. He uses Lisa’s elegant forms and figures as a three-dimensional "canvas" for his boldly painted designs that range from traditional geometrics to stylized graffiti patterns. Together, they complete the process by ground firing their innovative and dynamic creations.

Since their debut in 2001, they have pushed the shape and design envelope of contemporary Pueblo pottery with their work. Harlan revived historic Santo Domingo designs in 2003 and by 2004 he was creating more elaborate "twisted" shapes and figures. After only four years, they were considered "rising stars" among Native American potters and were beginning to win major awards at the Heard Museum Market and the SWAIA Santa Fe Indian Market. Every year since they have continued to win awards and accolades for their pottery in addition to being featured in several books and magazines on contemporary Pueblo pottery. Their innovations in design and form have captivated many traders and collectors and continue to inspire other artists. Their work has attracted museum attention and continues to expand the national and international audience for Pueblo pottery.


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Cochiti Pueblo

The view west from Cochiti Lake
View west across Cochiti Pueblo

Cochiti Pueblo lies fifteen miles south of Santa Fe along the west bank of the Rio Grande. What is now Bandelier National Monument is the pueblo's most recent ancestral home. They may have relocated to the Bandelier area from the Four Corners region around 1300.

Cochiti legend says that Clay Old Woman and Clay Old Man came to visit the Cochitis. While all the people watched, Clay Old Woman shaped a pot. Clay Old Man danced too close and kicked the pot. He rolled the clay from the broken pot into a ball, gave a piece to all the women in the village and told them never to forget to make pottery.

 
Ancestral home of the Cochitis
At Bandelier National Monument

In protohistoric times, human effigy pots, animals, duck canteens and bird shaped pitchers with beaks as spouts were common productions of the Cochiti potters. Many of these were condemned as idols and destroyed by the Spaniards. That problem left when the Spanish left in 1820 but the fantastic array of figurines created by Cochiti potters was essentially dormant until the railroad arrived. Then Cochiti potters were among the first to enter the tourist market and they produced many whimsical figures into the early 1900's. Then production followed the market into more conventional shapes.

Legend has it that a Ringling Brothers Circus train broke down near Cochiti Pueblo in the 1920's. The tribe's contact with the ringmaster, trapeze artists, opera singers, sideshow "freaks" and exotic animals paved the way for a variety of new figural subjects. An astute observer will find angels, nativities, cowboys, tourist caricatures, snakes, dinosaurs, turtles, goats, two-headed opera singers, clowns, tattooed strongmen, Moorish nuns and even mermaids in the Cochiti pottery pantheon, most produced only since the early 1960's and based on characters described in Cochiti's oral history.

A few modern potters make traditional styled pots with black and red flowers, animals, clouds, lightning and geometric designs but most Cochiti pottery artists now create figurines. Most notable is the storyteller, a grandfather or grandmother figure with "babies" perched on it. Helen Cordero is credited with creating the first storyteller in 1964 to honor her grandfather. The storyteller style was quickly picked up by other pueblos and each modified the form to match their local situation (ie: clay colors and tribal and religious traditions). In some pueblos, storytellers are also now made as drummers and as a large variety of animals.

Today, Cochiti potters face the challenge of acquiring the clay for the white slip. Construction of Cochiti Dam in the 1960's destroyed their primary source of their trademark white slip and gray clay. Now the white slip comes from one dwindling source at Santo Domingo, Cochiti Pueblo's neighbor to the south.

Most outsiders who visit Cochiti Pueblo these days do so on the way to or from either the recreation area on Cochiti Lake or Kasha-Katuwe Tent Rocks National Monument.


Map showing location of Cochiti Pueblo


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Santo Domingo Pueblo

The Mission Church at Santo Domingo Pueblo
Santo Domingo Pueblo Mission Church

Santo Domingo Pueblo is located on the east bank of the Rio Grande about half-way between Santa Fe and Albuquerque. Historically, the people of Santo Domingo were among the most active of Pueblo traders. The pueblo also has a reputation of being ultra traditional, probably due, at least in part, to the longevity of the pueblo's pottery styles. Some of today's popular designs have changed very little since the 1700's.

In pre-Columbian times, traders from Santo Domingo were trading turquoise (from mines in the Cerrillos Hills) and hand-made heishe beads as far away as central Mexico. Many artisans in the pueblo still work in the old ways and produce wonderful silver and turquoise jewelry and heishe decorations.

Like the people of nearby San Felipe and Cochiti, the people of Santo Domingo speak Keres and trace their ancestry back to villages established in the Pajarito Plateau area in the 1400's. Like the other Rio Grande pueblos, Santo Domingo rose up against the Spanish oppressors in 1680, following Alonzo Catiti as he led the Keres-speaking pueblos and worked with Popé (of San Juan Pueblo) to stop the Spanish atrocities. However, when Spanish Governor Antonio Otermin returned to the area in 1681, he found Santo Domingo deserted and ordered it burned. The pueblo residents had fled to a nearby mountain stronghold and when Don Diego de Vargas returned to Nuevo Mexico in 1692, he attacked that mountain fortress and burned it, too. Catiti died in that battle and Keres opposition to the Spanish crumbled with his death. The survivors of that battle fled, some to Acoma, some to fledgling Laguna, some to the Hopi mesas. Over time most of them returned to Santo Domingo.

In the 1790's Santo Domingo accepted an influx of refugees from the Galisteo Basin area as they fled the near-constant attacks of Apache, Comanche, Ute and Navajo raiders in that area. Today's main Santo Domingo village was founded about 1886.

In 1598 Santo Domingo was the site of the first gathering of 38 pueblo governors by Don Juan de Oñaté to try to force them to swear allegiance to the crown of Spain. Today, the All Indian Pueblo Council (consisting of the nineteen remaining pueblo's governors and an executive staff) gathers at Santo Domingo for their first meeting every year, to continue what is now the oldest annual political gathering in America. During the time of the Spanish occupation Santo Domingo served as the headquarters of the Franciscan missionaries in New Mexico and religious trials were held there during the Spanish Inquisition.

Today, the people of Santo Domingo number around 4,500, with about two-thirds of them living on the reservation. The pottery traditions of the pueblo almost died out after the railroads arrived and many Santo Domingos went to work laying tracks. Even today many Santo Domingo men work as firefighters for the US Forest Service in fire season and ply their artistic talents during the rest of the year.

Potter Robert Tenorio began working to revive the Santo Domingo pottery tradition in the early 1970's. His influence can be found among many of today's Santo Domingo potters, even if they say he stimulated them to learn on their own.

While today's Santo Domingo pottery is known for designs described as simple geometrics, another outstanding feature is boldness: the lines are thick and well-defined.

As religious leaders forbid the representation of human figures as well as other sacred designs on pottery made for commercial purposes, birds, fish and flowers are common design motifs. Depictions of mammals are rarely seen. Another typical Santo Domingo style is to paint in the negative, meaning cover the pot in panels of big swatches of black and red so that only a few lines of the cream slip show through.

Santo Domingo Pueblo location map


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Pottery Care & Consideration

  • The most obvious tip: Yes, the pots will break if you drop them!
  • Do not expose pottery to water (Inside or outside). Do not wipe with a damp cloth.
  • Dust pottery only with a soft, smooth cloth (no terry cloth or textured fabric). A very soft paintbrush (sable or camel) can be used.
  • Always use two hands to carry your pot: one on top and one on the bottom, or one hand on each side. Be careful with handles, they can be fragile. Do not grip or lift pots by the rim. Take care when wearing jewelry, rings can scratch the finish.
  • Place a piece of felt or cloth between the pot and the shelf to protect the signature.
  • Avoid exposing pottery to extreme temperature changes.

For those who live in "earthquake country" (also good for mischievous pets):

  • Weigh pots down with a small zip lock bag containing sand, glass marbles, rice, etc. Do not fill the pot more than one third full as you want them bottom heavy. Remember to remove the weight before moving.
  • Secure your shelves; make sure they are well attached to the walls. Shelf brackets should be of sufficient length and strength to support the weight of your pottery.
  • Prevent pots from sliding. Consider attaching a small wooden molding to the front of shelves. Line shelves with non-slip material (a thin sheet of rubber foam, Styrofoam sheeting, etc.)
  • If you need assistance with special problems, major cleaning (your grandchild spills ice cream on your pot), restoration or repair (the cat breaks a pot), or replacement (irreparable damage), please feel free to call us.

We hope these ideas help you maintain the beauty and value of your pottery for years of enjoyment.

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