362-144, 145<BR> Animal effigies, Tesuque Pueblo; 362-144: pottery, cream slip; h. 12 cm., l. 10 cm., b. 9 cm.; 362-145: pottery, cream slip; l. 14 cm., h. 4 cm., b. 9 cm.; 1883.<BR> The former is a goose effigy with long neck and out-stretched wings. One wing tip and the front of the beak are damaged. The effigy stands on a footed base similar to that used on pottery vessels influenced by Spanish design. The object is but one of many examples of animal figurines made for the tourist trade from 1870 until about 1920.<BR> This latter is a horned toad effigy, probably the northern subspecies of Phrynosoma platyrhinos, the Desert Horned Toad. Although horned toads were common to the Tesuque Pueblo region in the 19th and early 20th centuries, they were seldom incorporated into Native art. "Animalitos" produced at the turn of the century include dogs, bears, and pigs. One leg extremity of this specimen is missing, while two others have been restored.<BR> 362-144, 145, 146 Tesuque tourist style pottery<BR> Due in part to their proximity to Santa Fe, villagers from Tesuque Pueblo were active in the production of items for the tourist market beginning ca. 1870. In addition to traditional decorated black-on-cream pottery they also produced a variety of figurines and animal effigies made of micaceous clay or slipped with a micaceous clay slip. Working in collaboration with Santa Fe traders, Tesuque potters also produced so-called clay idols that roughly paralleled the hollow figurine tradition that developed simultaneously at Santo Domingo Pueblo. The clay idols evolved into a series of smaller and more portable "gods" that were sold in large quantities via the railroad and through mail order catalogs across the U.S. There were gods of war, gods of pain, and gods of rain, among others. The rain gods eventually gained popularity over the others and formed a tradition of manufacture at the pueblo that continues to the present day. In the 1920s Tesuque artists began using bright colors of poster paint applied after firing. It was as popular with tourists as it was unpopular within the academic and museum communities who favored "more traditional" art forms and condemned the brightly colored pots and rain gods as "tourist junk." Today pottery wares are still produced for the tourist market at Tesuque. Artists have shifted away from poster paints to the use of earlier plain micaceous and decorated cream slipped forms (Anderson 2002; Fogelman Lange 2002; Batkin 1998, 1999).<BR> (Anderson 2008-09)<BR> <BR> Vogelfiguur van aardewerk; waarschijnlijk kraanvogel. TESUQUE<BR> <BR> In de 19e eeuw viel het aardewerk van Tesuque op vanwege de kwaliteit in techniek, vormgeving en decoratie. Dieren en planten werden vaak afgebeeld, de laatste een vruchtbaarheidssymbool.<BR> <BR> De kwaliteit van het aardewerk ging eind 19e eeuw snel achteruit door de nabijheid van de stad Santa Fe. De entree in een geldeconomie betekende aanpassing van de productie aan de westerse markt. Tesuque produceerde bloempotten, waterkannen en potten met deksels, naast souvenirs voor de opkomende toeristenindustrie. Vanaf de 1880s contracteerden de handelaren Jake Gold en Charles Marsh veel pottenbaksters vooral in Tesuque, maar ook in andere pueblos, om goedkope soevenirs te produceren. Zij verkochten direct aan het publiek, maar ook via postorder, waarvoor zij reclamefolders lieten drukken.<BR> <BR> Kenmerkend zijn de "regengoden", kleine zittende figuurtjes van micahoudend aardewerk, een product dat niet traditioneel is maar werd ontwikkeld omdat het de beelden die blanken van Indianen hadden aansprak. Miniaturisering van aardewerk (vaatwerk, figuren) was onlosmakelijk verbonden met de toeristenmarkt.<BR> <BR> In de dertiger jaren begon men met het beschilderen van aardewerk potjes en miniaturen in fellere kleuren en met art deco motieven. De kleurstelling werd steeds heftiger en kitschiger waarmee Tesuque "faam" heeft gemaakt.<BR> <BR> <BR>