Black jar with sienna spots and sgraffito medallion, avanyu, ears of corn, sun-face katsina, bull elk and geometric design made by Robert Allen Homer of Zia
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Robert Allen Homer, Zia, Black jar with sienna spots and sgraffito medallion, avanyu, ears of corn, sun-face katsina, bull elk and geometric design
Robert Allen Homer
Zia
$ SOLD
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Black jar with sienna spots and sgraffito medallion, avanyu, ears of corn, sun-face katsina, bull elk and geometric design
5 3/4 in H by 6 1/4 in Dia
Condition: Very good
Signature: RH
Date Created: 1988


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Every box is required. We will get back to you as soon as possible. Thank you!

We keep all your information private and will not sell or give it away for any reason, EVER!

 

Robert Allen Homer

Zia
Black jar with sienna spots and sgraffito wildlife and geometric designs
 

Robert Allen Homer was born in 1956. His mother was Corn Moquino's sister, Marie and her lineage was Zia/Hopi. The Heard Museum records Robert's lineage also as Zia/Hopi.

We don't know much about Robert except he learned to make pottery from his uncle, Corn Moquino. He started to produce pottery in the mid 1980's and made an appearance at the Heard Museum Guild Indian Art Fair & Market in 1995. He earned an Honorable Mention ribbon that year for a turtle figure in black and red/sienna.

Robert was an exhibitor for several years at the Santa Fe Indian Market in the late 1990's and early 2000's. His style is very much like Corn's and he uses Santa Clara methods and clay.

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Zia Pueblo

Zia Reservation view
A typical view on the Zia Reservation

Zia Pueblo is situated in the Jemez Mountains with Jemez Pueblo to the north and Santa Ana Pueblo to the south. Despite its picture postcard setting, Zia's history for the last four hundred years has been difficult.

Antonio de Espejo led a small troop of Spanish explorers up the Jemez River and discovered Zia Pueblo in 1583. Espejo estimated there were about 4,000 inhabitants in a city of house blocks up to three and four stories high with five major plazas and many smaller ones. "The people are clean. The women wear a blanket over their shoulders tied with a sash at their waist - their hair cut in front, and the rest plaited so that it forms two braids, and above a blanket of turkey feathers," is how Espejo's scribe recorded it.

Zia today is a water-poor community of about 800, most of whose residents work away from the pueblo.

The people of Zia participated in the Pueblo Revolt of 1680 and when Spanish troops returned in 1682 and 1687, the Zias were able to repulse them. When more Spanish troops returned in 1688 they were finally successful in conquering the Zias. The Spanish killed many people, burned the pueblo and took many slaves back to Mexico with them. When Don Diego de Vargas returned to northern Nuevo Mexico in 1692, the Zias sued for peace and accepted the rule of Spain almost immediately. However, the new Spanish government did little to protect the pueblos from the raids of nomadic Ute, Apache, Comanche and Navajo warriors. Zia fortunes slid in many ways and by the 1890's the tribe was down to just 98 members.

Today, the Pueblo of Zia numbers about 800 people, many of whom are active artists producing everything from pottery to jewelry to baskets to paintings, sculptures and wood carvings.

Pottery was a Zia mainstay for at least two hundred years. The balance of trade was food from Santa Ana, Jemez and San Felipe in return for pottery from Zia. Pottery still remains Zia's largest home-grown cash crop.

Zia pottery is Keresan and as such, shares design characteristics with other important Keresan pottery, especially Acoma and Laguna ware. They all have their favorite geometric patterns, stylized birds, rainbows and flowers, but each maintains its own individual images and colors.

Where Acoma and Laguna's bird is a parrot, Zia's is a roadrunner. Acoma's black and orange on stark white is contrasted by Zia's dark brown and brownish red on creamy white. Further, Acoma's hard, paper-thin, white clay ollas differ greatly from Zia's sturdy, slightly granular, basalt-tempered red clay jars. Because of their unique local clay and their traditional designs and shapes, Zia pottery is unique and easily distinguished from the pottery of other pueblos.

When New Mexico became a territory (and then a state), some of the symbols involved were sourced from Zia Pueblo. The roadrunner often pictured on Zia pottery became the official New Mexico state bird and the Zia sun symbol (a circle with four parallel lines in four groups pointing in the four directions) became a state symbol depicted in many places, including the state flag.

Zia Pueblo location map

For more info:
at Wikipedia
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, 2001
Photo courtesy of Jared Tarbell, Creative Commons Attribution 2.0 Generic License

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Moquino Family Tree

Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.


    Benina (Zia) and Augustin (Hopi) Moquino
    • Reyes Homer and Marie Homer
      • Robert Allen Homer (1956-)
    • Bob Moquino
    • Corn Moquino and Christine Herrera (Santa Clara)
      • Bernice Moquino (1970-) and Martin Barela
      • Christopher Moquino
      • James Moquino Sr. and Yolanda Velarde
        • Keith Chavez
        • Camille Moquino (1979-)
          • Mario Thomas
        • James Moquino Jr.
      • Mark Moquino
      • Martin Moquino
      • Marvin and Delores Moquino
      • Matthew Moquino
      • Melvin Moquino
      • Michael Moquino and Jennifer Tafoya
    • Willie Moquino
    • Ester Talles

Some of the above info is drawn from Pueblo Indian Pottery, 750 Artist Biographies, by Gregory Schaaf, © 2000, Center for Indigenous Arts & Studies

Other info is derived from personal contacts with family members and through interminable searches of the Internet.