Anderson Peynetsa, Zuni Potter

My needle always settles between west and southwest. The future lies that way to me, and the earth seems more unexhausted and richer on that side. – Henry David Thoreau

I discovered this line in a Thoreau essay titled Walking. It expresses how I feel about the Southwest more eloquently than I could do myself.

A fanciful decanter vividly painted and shaped like a duck

What is it that inspires me  to return again and again to this rugged, sometimes lonely place ? I think just about everything – the wide open, un-blemished spaces; the soft, pale colors of ancient mesas, sprawling desert and deeply cut canyons that define the landscape; the clear, pure light; the shifting weather and dramatic skies; the high elevation and dry air; the tumultuous history of this place and the blended cultures of today; the museums and galleries (equally educational); and Native American art and artists.

While there are fine art painters of all stripes in the Santa Fe and Taos areas, and galleries that specialize in Spanish Colonial art, Cowboy art or Western art, Native American textiles, sculpture and jewelery, my special weakness is for polychrome Pueblo pottery. Although I admire the diverse work of many talented Native American potters, my favorite pieces are made by Zuni potter Anderson Peynetsa.

Anderson holding one of his little painted pots

When I finalized my plans to attend Indian Market this year (Indian Market is a once a year juried show of Native American art held in the streets of downtown Santa Fe on the 3rd weekend of August and produced by SWAIA). I quickly scanned the exhibitor listing for Anderson’s name. YES,  he would be there and I was thrilled that I would be able to meet him and see some of his new work.

On the first day of Indian Market, I arrived in downtown Santa Fe around 6 AM and made several passes by his booth hoping that he would be there. Towards 7 AM he was at his table and had just finished unloading his precious cargo from his car. His wife and children were busy  un-wrapping some large, exceptionally gorgeous pieces, and I scanned the table quickly to take in all that they had brought.

He told me that he had made these large pieces to sell at Indian Market, and I was thrilled to see them. I knew that these pieces would certainly be snapped up before the weekend was over, and I was envious of the lucky collector (s) who would take these pieces home with them.

I have been a fan of Anderson’s work and Zuni pottery for a long time, and have admired many of his pots in galleries in the Santa Fe area over the years. Honestly, these stunning pots (he let me hold them!) were among the best pieces of his work that I have seen. They simply took my breath away.

Anderson’s pots are built the way Zuni potters before him have made their pots – from hand-rolled, thin coils of clay. The shapes of his pieces are pleasing to the eye and are impeccably gracious in aesthetic and even in shape. His painting has matured into a fluid, rhythmic style. Like most pueblo potters, he makes his paints from earth and plant pigments. He paints with black and reddish-brown pigments on either pure white or dark, earthy red highly polished backgrounds.

Working as a team, Avelia sands and polishes the pottery. Anderson told me that she has the touch for that – he breaks the pots when he tries to polish. Pots are made in the morning and painted at night. Small pots dry in one afternoon; large ollas dry for several days. He applies his white slip evenly and rather liberally – the color of clay body of the pot does not show through. Some artists let the clay show through a thin coating of slip and I find it distracting from otherwise nice work. He also has a very steady hand with the paintbrush and is very good at loading his brushes to deliver an even application of pigment over the surface of the pot (no thin spots in the color).

Someone else’s pot with a thin application of white slip

Anderson’s trademark heart-line deer motif painted on a large water jug ( olla). Notice how differently the deer is rendered in this pot versus the pot above

The Peynetsa family is well known in collector circles. Anderson’s sister Agnes makes smaller pieces, most of which are adorned with lizards and frogs, animal symbols that are very esteemed by the Zuni. In fact, it is one of her frog pots that brought her family to my attention. Avelia is more than happy to let the spotlight shine on her husband, but she did tell me that she, too, makes pots.

Frog pot by Agnes Peynetsa

Anderson and Avelia learned their craft at Zuni High School from Jennie Laate ( an accomplished Acoma potter who taught at Zuni), and he has been a potter ever since. Working as potters is how this family makes their living – this is not a part-time occupation. I would say that Anderson is close to being middle-aged, and, from the pieces that I saw, in the prime of his craft.  I look forward to watching his work change in the years to come as he grows as an artist.

I could not help but notice Anderson’s hands – they so clearly look like the hands of someone who works with a wet medium. Clay is very drying as it sucks the oils from the surface of skin. And, preparing clay from rock sherds is a laborious, hands-on job. He told me that he, like other Zuni potters and his ancestors, dig their own clay on the pueblo lands in a sacred place where only the potters are allowed to go.

After digging the clay from the earth, the clay is hauled to their home and soaked in water for 2-3 days to soften. Sometimes small, broken pieces of  pottery sherds are added to the clay for suppleness if needed. Excess water is drained away, and the clay in put in pillow cases outside to rest.

By Sunday afternoon, all of Anderson’s big pots, including the exotic duck canteen, had sold. They were very happy with that, and I was pleased for them. I imagined that one lucky buyer purchased all three pieces, but I will never know. Perhaps one or more pieces will go into a museum collection, or to a gallery overseas, or to the home of someone rich and famous living in the Santa Fe foothills.

For those visiting the Santa Fe area, the Zuni pueblo is located far in the western edge of New Mexico about 2 hours driving distance from Albuquerque. There are several crafts shops on the pueblo who sell Anderson’s work. In addition to pottery,  Zuni is famous for little carved fetish animals, and inlaid turquoise jewelry. For those who drive this route, be sure to leave several hours in your schedule and visit the Acoma Pueblo along the way, too. Beautiful polychrome pottery can be purchased here as well.

Indian Market 2011, Part 2

Saturday, opening day of Indian Market

Hand-woven Navajo rug by Lynda Teller

Last night thunderstorms rolled in over the Santa Fe area, bringing wild clashes of thunder and lightning and heavy rains. And heavy hearts to all of us counting the hours until the opening of Indian Market. Rain is always needed here, but rain for Indian Market would be detrimental to the artists who could lose sales if casual shoppers stayed away. Despite the strong collectors market, artists also depend on impulse purchases that happen when someone falls in love with a piece after hearing the story of how it was made.

I awoke to rain in the early AM, too, but it was light and the wind had subsided. I decided to head up to the Plaza as planned and be there for the early action. Only the most intrepid and dedicated buyers ( and me!) appear in the Plaza area in downtown Santa Fe in the wee hours of Saturday morning, well before the official opening hour of 7 AM.

In darkness they wait: a small price to pay to be first in line to obtain a coveted piece from a favorite artist. The only way to score the choicest pieces is to be first in line at the artist’s booth.

Sometimes the line forms before the artist arrives. Such confirmation of one’s work at Indian Market must be gratifying. Rumors fly among the early go’ers about the year the guy bought all the pots from a pottery artist as she unpacked them. Apparently he handed her a wad of about $60,000in cash for 8 large, choice pieces, and finished her day before it began. Or the story about the Best in Show piece that resulted in an on-the-spot, mini auction between several frantic buyers all of whom wanted it, driving the $16,000 price up even higher.

            Fancy dancer doll by                Jamie Okuma

While this kind of interest can be fueled over any artist, the most desirable pieces  are those selected as a winner by the judges in the Best of Classifications. Hundreds of pieces of art are entered into the judging as artists vie for titles and monetary prizes. Artists bring their pieces to the Civic Center where each piece of art is organized by genre and material.

The judges are sequestered until they announce their decision on Friday morning. Once the winners are announced, the general public is invited to the Civic Center on Friday evening to view all of the artwork. This marks the final countdown to Indian Market and people stream into the Civic Center. Serious buyers come and ‘scout’ the pieces and decide which they will try and secure for their collections early on Saturday morning. Collectors who purchase the coveted Best of Classification pieces ( or the Best in Show Piece ) also receive the corresponding Blue Ribbon.

The value of the Best of Classification pieces begins their escalation in value from this point. Artists who win in these categories are suddenly launched to a new level of status and their work will enjoy more attention and recognition. I also imagine that the price that they had in mind for their piece will be higher by the time that the piece arrives at market on Saturday. Commanding larger sums of money for one’s work is part of the opportunity that a win at Indian market brings to the artist.

Pottery by Jody Naranjo

I attended the luncheon for SWAIA ( Southwest Association of Indian Art ) members on Friday morning, and the listing of  the winners with some photos appears below. And of course, from all of the Classification winners, the most desirable prize of all – Best in Show- is chosen.

Best of Classifications:

Classification I: Jewelry — Chris Pruitt
Classification II: Pottery—Jody Naranjo
Classification III: Paintings, Drawings, graphics and photography—Duani Reynolds-Whitehawk
Classification IV: Wooden Pueblo Figurative Carvings—Arthur Holmes
Classification V: Sculpture—Marcus Wall
Classification VI Textiles—Lynda Teller –Pete
Classification VII: Diverse Arts—Jamie Okuma
Classification VIII: Beadwork & Quillwork—Joyce Growing Thunder
Classification X: Moving Images—Bennie Klain
Classification XI :Basketry—Jeremy Frey
Classification IX: Youth ( 17 years of age and under)—Valerie Calabaza
Best in Show Winner— Jeremy Frey

Basket by Jeremy Frey

There are  many sub-categories, too, under each classification, and winners are chosen in each of these categories as well. For instance, jewelry has 2 main divisions and 20 categories in genres such as bracelets, earrings, pins and pendants, buckles, rings, and more. Thirteen additional awards were given this year for works of exceptional merit, and all total, over $100,000 in prize money was awarded to deserving artists.

Judges are selected each year for their authority in the field of Indian arts, and they are visually trained in knowing how to ‘read’ a piece. They include artists, educators, gallery owners, museum curators, and the like. Most but not all are Native Americans: the overarching criteria is expertise in the specific field that they are judging, and a wide perspective on Indian arts and culture, including unique spiritual beliefs and customs that many artists incorporate into their work.

This year 57 judges called on their wisdom and perspective to select the winning pieces from a pool of extraordinary talent. As one judge said: ‘The visual response or the emotional response is really the key thing. Then we look to see how accomplished the work is, how mature.’

Rains delayed the usual early opening of the market on Saturday, but the weather cleared and brightened by 8 AM. Then the crowds began strengthen. By the time that I passed by Jeremy Frey’s booth his prize-winning basket had sold hours earlier, for just over $16,000.

In his booth, a customer lamented the fact that someone had beat her to the purchase. Most of his smaller baskets, priced in the low thousands of dollars, had sold, too. Several of them remained on display, emboldened with ‘sold ‘ stickers. After I congratulated Jeremy on his well-deserved win and walked away, I could hear him telling her that he would be happy to custom make a similar basket for her. Her response was somewhat drowned out as I was quickly swallowed up by the crowd, but I had the sense that it was in the affirmative.

Indian Market 2011, Part 1

Santa Fe, Friday

I arrived today in one of my favorite places…..the City Different, Santa Fe, New Mexico. As expected in mid-august, the sky is blue and dotted with fluffy, white clouds. And the air is hot but dry, a blessed relief from the sweltering, humid weather where I live in New England.

I quickly dropped my bags in my hotel room and headed out onto the streets and into the galleries. There is a noticeable buzz and excitement in the air, especially among those of us gathering here in anticipation of Indian Market.

During the week leading up to market ( Saturday and Sunday August 20 & 21st ) many special events are held in galleries, hotel and city spaces that bring artists and collectors together. All of these are fun and educational and add to the excitement of the arrival of the grand finale – two glorious days of Indian Market.

On Thursday and Friday evening many of the galleries that represent Indian artists feature special showings, hold gallery talks, artist-in-resident afternoons, and early evening cocktail gatherings. These are see-and-be-seen social opportunities that give the art collecting public intimate, one-on-one ‘face-time’ with the artists. Many of the hotels around the Plaza, too, invite Native artists to showcase their works with special ‘ trunk-shows’ of new works.

Those attending Indian Market must be ready for a visual overload of art in many genre. There is more than usual to see right now in Santa Fe, and many more delicious ways to spend money ( this is in addition to dining in the tasty Santa Fe restaurants!) these few short days.

In essence, for those who love Native American art in all of its glorious manifestations – jewelry, pottery, painting, Katsina dolls, rugs and other weaving, Indian Market is the zenith of the best native talent.

For many artists, the gathering of collectors ( private collectors as well as buyers for museum collections and galleries around the country and abroad ) and the simply eager and curious that arrive for Indian market ( it is estimated that we are in the vicinity of 90,000 strong ) provides them with a significant portion of their annual income.

The Native American art world has many superstar artists in all genre of art – Robert Tenorio, Tammy Garcia, Dan Namingha, Anderson Peynetsa, David John, Cippy Crazy Horse, Anthony Lovato, Upton Ethelbah, Jr., Ray Tracey, Virgil Ortiz, and many others. Each year Indian Market reveals talented new artists to an eager public. In fact, SWAIA ( Southwest Association of Indian Art), the organization behind Indian Market, lists 60 new artists under the age of 17 as exhibiting this year.

The handful of artists who win one of the coveted Best of Classifications will suddenly find their career in high gear and in the top group whose work is most desirable to collectors. But many of these artists do not have superstar status. They live on their Pueblos and reservations and are accustomed to working quietly away from the public eye. So these few days is a time for them to step forward and meet with collectors one-on-one. The ability for artist and collector to interact in this way is one of the true benefits of attending Indian Market. It is an opportunity for collectors to not only purchase art directly from the artists, but to learn how the piece was made and often, to learn about the tradition behind the piece and the passion that went into crafting it.

SWAIA charges the artists a booth fee to exhibit at Indian Market, but they do not charge a commission on the money generated from sales of their artwork. Each artist sets their prices as they see fit, and in general I find the prices to be fair and lower than what one might expect to pay in the galleries for a similar piece from that artist.

But really, one does not come to Indian Market to compare prices with what is being charged by the galleries but to purchase something treasured and wonderful from the person who made it. I feel that everything that I have purchased at Indian Market is part of an experience that I would not otherwise have had, and one that is more personal than when purchasing from the galleries.  Jewelry that I purchased from certain artists years ago is always slightly different from the work that they doing now…..neither is better but each piece represents a marker in that artist’s growth and evolution. I enjoy hearing about what they are doing/not doing directly from them.

Indian Market provides the spotlight for these artists and their art provides the shine. During the next few days these talented artists will become the sole focus of attention in downtown Santa Fe. No one knows for sure because all sales are private, but it is estimated that several million dollars are spent during these few days of fevered buying.

But galleries, jewelry shops and textile shops are busy too, during Indian Market. Collectors work with favorite galleries and gallery owners throughout the course of the year, as these folks have their ear to the ground and have developed close established ties with their artists. While galleries may take a back seat to the outdoors selling during Indian Market, their efforts in promoting Native American artists and exposing the talents of Southwest artists to visitors from all over the world should not be underestimated. The sales people in these galleries and shops and the owners are highly knowledgeable and very enthusiastic about the artists that they represent. For me, my education in Native American art comes not only from the artists themselves but also from the shops and galleries and from the museums.

By 5 AM the most determined buyers will be waiting in line at the booths of the artists whose work they covet most. Some artists sell out of their pieces in the first hour.

I too will be there, searching for my favorite Zuni potter.

Good luck to all !

Santa Fe Indian Market

 Spectacular Art Dominates Santa Fe’s Indian Market:

This former stop along the Old Santa Fe trail is now a vibrant hub of art and culture honoring Native American craft traditions

 

Growing up in the 1950’s, I was, like most kids, enamored with cowboys and Indians.  Much to my parents chagrin, I proudly wore my Annie Oakley guns and holster set everywhere, along with my straw cowgirl hat, red bandana and tooled leather boots.

Despite my get-up, I secretly felt more akin with… the Indians than the cowboys.  After all, they were the smart ones, the ones who ‘knew’ the secrets of the mysterious landscape of the Southwest that I longed to visit. I envisioned myself riding bareback through spare, slickrock canyons on a swift, sure-footed pony, scrambling up the crumbling sides of a craggy mesa to reach the top. Thus perched, I could survey across the dry and windswept landscape for approaching enemy.

Fast forward to the present and I still find myself passionately drawn to the history and vibrant culture of the American southwest.  As a collector of American Indian pottery, I craved a visit to Santa Fe during Indian Market, the largest and most highly acclaimed juried Indian art and craft sale in the world. Like a call of the wild, this annual event draws 80,000-90,000 museum curators, Indian art collectors, dealers and visitors from around the world to mingle with approximately 1,000 carefully juried Indian artists.

Santa Fe lies north of the city of Albuquerque, and it is an easy drive through the expansive Rio Grande River Valley.  Here, the enchantment of this place begins it’s seduction. On the right lay the rugged Sandia Mountains, and to the left, far in the distance, the blue-gray outline of the Jemez Mountains punctuated the horizon. Further along the highway, the Sandia Mountains end and the Sangre de Christo ( ‘Blood of Christ’ ) Mountains began their advance north towards Colorado.

This is dry, high-desert country, rugged, gnarly and genuine. Across the valley, away from the highway, sweeping vistas of sky and land unfold. Rugged, flat-topped mesas and jagged-edged buttes, warm in tones of pink, salmon and cream pass by in an endlessly changing landscape. In the clear thinness of the high-altitude light these mute witnesses to pre-history form a silent dreamscape, magically changing hue and mood from sunrise to sunset.

Set amidst this spare other-worldly landscape, Santa Fe, whose name means City of Holy Faith, is a colorful and thriving city.  Over a span of two hundred years, Spanish conquerors, Mexican control and American pioneer-settlers brought strife and discord to the native Indian populations. Today, these cultures each contribute to a rich blending of traditions, religions and an artistic spirit that fuels the dynamic energy of this place.

In late August, New Mexico is blessed with clear, turquoise skies boldly dotted with clusters of vivid white clouds. Here, at 7,000 feet, late summer days are white-hot and bone-dry, but pleasantly cool in the shade and in the evenings.

As I discovered, there is much to see and do in Santa Fe the week of Indian Market.  Museums, major art galleries and downtown hotels feature gallery walks, artist demonstrations, fund-raising auctions, special exhibits, talks and musical events. All events are free and are held during the day as well as into the evening.

After arriving, I headed over to the Plaza, the heart of Santa Fe. Spend a day strolling and window-shopping among the stores surrounding the Plaza, and you will discover superb examples of traditionally-made Indian art that are reminiscent of the historic treasures on display in the museums. Local shopkeepers are knowledgeable about their wares and the Indian artists that they represent. In the Santa Fe Indian Trading Co, I fell in love with a collection of exquisitely detailed sterling silver Zuni Katchinas ( spirit deities) made by artist Jeffrey Castillo.

I always find something that catches my eye in these shops, and engage the staff in a conversation about the piece.  This is a great way to not only learn about the deep cultural beliefs that influence the various Pueblo artists, but the spiritual connection that these artists have to the earth and their raw materials.

Since 1922, Indian Market has been held every August. By fostering interest in the beauty and timeless design of genuine, handcrafted Indian art, Indian Market has sought to define the traditions and keep them alive. Today, the non-profit group SWAIA -Southwestern Association for Indian Arts-is the catalyst behind Indian Market. According to SWAIA, their organization supports artists from 80 federally recognized tribes across the USA, and includes accomplished and emerging artists.

Indian Market injects the Santa Fe business community as well as the Indian artists with a robust infusion of tourist dollars. Throughout the decades, Indian Market’s economic and artistic impact has blossomed throughout New Mexico and the Southwest and in the lives of the Native American communities throughout the region. Santa Fe’s Indian Market’s total economic impact has been estimated at over $80 million.

As the time grew closer for Indian Market to start, the influx of visitors swelled daily. On Friday evening, the excitement of Indian Market began. The public is invited to the Civic Center to preview the pieces of art that have won the coveted SWAIA sponsored Indian art awards. For high-level collectors and museum curators, these are the choice pieces that they will line-up to purchase in the pre-dawn hours the following morning.

Blue, red and yellow ribbons are awarded in seven categories by a panel of Indian art experts. From these winners, the Best in Show piece tops the list. Winning this award is a distinguished achievement that bestows an artist with prestige and skyrockets a career to a new level of accomplishment.

Amid the crowd of artists and admiring onlookers, I had the opportunity to speak with Robert Tenorio, a distinguished Santo Domingo Pueblo potter. Robert is a big fan of the work that SWAIA does to promote Indian artists. He told me that ‘ SWAIA allows me to be the artist that I am.’ In return for SWAIA’s support, Robert, like many other important Indian artists, was donating a piece of his work to the SWAIA black tie gala auction to be held the following evening. His piece, a spectacular,  traditionally-made,  hand-painted pot titled ‘ Going to Indian Market’ was valued at $10,000.

Indian Market takes place Saturday and Sunday, rain or shine, in the streets surrounding the Plaza. Look for the program guides and vendor lists that show where each artist is located by booth number and street. I was told that the ‘ serious buyers ’ begin to congregate at the booths at 3 AM, hoping to be first in line and often arriving before the artists do.

Parking in downtown Santa Fe is a nightmare during this week, so select a hotel that offers parking and is within walking distance to the Plaza. Or, do as I did and arrive by 5 AM to claim a spot in one of the public parking lots.

As I neared the Plaza, the action was well underway. In the gauzy pre-dawn light, people moved rapidly and silently, like ghostly specters.  Vendors quietly set up their wares, some bringing only three or four pots, others with glass cases containing splendid pieces of jewelry. Lucky early buyers were already heading back to their cars to unload before continuing the hunt.

Across the Plaza the funky, art deco Plaza Cafe was open, and it was buzzing with high-spirited camaraderie. For me, food and coffee were essential at this early hour. On entering, I could see that this was clearly not to be my familiar New England cup-of-coffee-and-a-muffin breakfast. Plates heaped with omelets, enchiladas, and chunky red bean chili  streamed past me as the waiters rushed to deliver orders. Intrigued, ordered a dish called Huevos Divorciados.

It came two eggs on a corn tortilla, topped with earthy, color-contrasting red chipotle and green tomatillo salsas. Additionally, guacamole, sour cream, beans, hash browns and a honey-drenched, puffy fried bread called a sopaipilla rounded out the cowboy-sized platter of food. In spite of myself, I made some good headway in the food. Who ever decided that breakfast needed to be about sweet flavors never had a plate of food like this look them in they eye. And win. Bolstered and fortified by this eye-opening breakfast, I was ready for the action.

Dawn arrived just before 6 AM, and as I grasped the full spectacle of Indian Market, I was overwhelmed. Everywhere around me I saw delicate, intricately painted Pueblo pottery in mono-chromatic earth tones; troves of dazzling silver and turquoise bracelets and necklaces in traditional designs; contemporary silver and gold jewelry inlaid with lapis, coral and onyx; strands of delicate, hand-strung and hand-cut bead necklaces in green and blue turquoise, cream-colored shell and pink and red coral; woolen blankets and rugs, woven in traditional designs in a palate of vibrant colors; intricately carved and delicately balanced wooden Katchina dolls (artistic, figured representations of Indian spirits and deities); hand-made cloth dolls dressed in skin garments and adorned with hand-applied beads, feathers and fur; plus fine art prints, paintings, and photographs of southwestern landscapes and people.

In this normally laid back town, the air crackles with energy during Indian Market. Crowds of visitors swirl good-naturedly around the streets, mingling classic Eddie Bauer and loose American casual with cowboy rustic and southwestern glamour. Glints of silver jewelry encrusted with eye-popping hunks of turquoise flash in the bright sunlight. In celebration, locals and buyers pile on their Indian jewelry, displaying their amassed collection of rings, necklaces and bracelets.

This is no discrete thin-gold-chain and demur-post-earring kind of town.  Here, in art-conscious up-scale Santa Fe, personal adornment is serious business. Even urban cowboys wear Native American jewelry, a modern-day convention previously un-heard of in this former rough and tumble town that is filled with ghosts of saloons and cowboys past.

The list of who’s who in Indian arts is truly impressive. Jewelry artists such as Raymond Yazzie, Orville Tsinnie, Joe Calabaza, Jesse Monongya, Na Na Ping Garcia and Anthony Lovato are spoken of in tones underscoring the quality and excellence of their works. Pottery artists such as Sandra Victorino, Diane Lewis, Rachel Concho, Anderson Peynetsa, Barbara and Joseph Cerno, Evelyn Ortiz, Gloria Mahle, Lonnie Virgil and Tammy Garcia have raised the level of their craft while remaining true to the traditions of building and painting their hand-coiled pots.

As the next two days unfolded, a stage assembled in the Plaza provided continuous entertainment, including musical performances by popular Indian artists Robert Mirabal and Joanne Shenandoah. Events such as hoop dancing and a ceremonial eagle chant performed by the Jemez Black Eagle Singers packed crowds of all ages.  On Sunday, the eagerly awaited American Indian Clothing Contest showcased ornate and exquisite hand-made traditional attire from competing Indian tribes.

By late Saturday, the buzz was in anticipation of the annual SWAIA fund-raising black-tie dinner and live auction that evening. The opportunity to bid on a top piece from the long list of donating artists brings out the altruism of the serious art community. By the time the auction hammer fell for the last time that night, an acrylic painting by Indian Market poster artist of the year David John titled Rain Chant brought in $11,000; a slick Na Na Ping Garcia sterling silver and black jade inlaid bracelet was deemed a steal at $4,200; a Donna Shakespeare Cummings Arapaho warrior doll was taken home for $2,800; a spectacular Jesse Monongya coral, gold, diamond and necklace netted $38,000.  And Robert Tenorio’s pot fetched a cool $9,500.