This is a small, fired clay deer with leather antlers and ears.The leather is painted with a slip. The deer is positioned as if curled in sleep. There are tool marks and fingerprints on the body and incised eyes and nostrils with hide antlers.

(Photo lower left) Roughly modeled buffalo with slight indications for his hair, rough under his chin, paint traces down his forehead and hide for ears and tail.

(lower center in photo) Modeled buffalo with indications of hair in his mane and head. His head is raised. He has a hide tail and ears.

Modeled buffalo standing on four, roughly V-shaped tapering legs. Hoofs are not indicated. Tail is modeled with hole below it.(lower left in photo)

Roughly modeled duck, (upper left in photo) with a rounded bottom, bulbous body, upturned tail, and head turned to the proper right and slightly upward. At the rear, below the tip of the tail, are two roughly concentric, inverted U-like incised lines. The wings are modeled along the sides of the body. Eyes are small hole punctures, and the beak is modeled.

Powerfully modeled figure of a deer curled up.(center front in photo) Legs are abbreviated, indicated by lumps. Tail is a simple knob. Four holes (two on each side) on top of head, presumably originally held ears and antlers. Two nostrils and mouth lightly incised.

The sculpture is a contemporary version of the traditional storyteller figure with an ironic twist. It makes a dual statement on the production of traditional-style pottery for the Santa Fe Indian Market, for sale as well as on the Pueblo potter's desire to create something lasting for generations to come. A Pueblo woman sits with her legs and arms outstretched in front of her. The figure's face resembles Roxanne Swentzell, the artist responsible for the sculpture. Her eyes look up towards the Santa Clara black pot balanced on her head. Two babies emerge from the pot. One is shown half way out, the other with its head poking up. A third baby stands on the woman's shoulder and is reaching towards one of the babies coming from the pot. A fourth baby sits on the Pueblo woman's lap with an expression of deep contentment. Making babies and making pots are equated, perhaps to protest how indigenous people themselves and their traditions are often considered as if commodities, to be purchased by non-Native people at commercial Indian Markets throughout the Southwest. The entire piece is a tour-de-force of workmanship, a hand formed sculpture that merges two worlds, the time-honored and the modern. The entire surface of the work is highly polished and is in excellent condition.

All that remains of Mimbres villages are rubble mounds with scattered pottery shards. No one knows if the Mimbres moved or who their descendants might be. Mimbres potters, probably women, created sophisticated designs for six hundred years. The pottery objects that have survived are primarily executed in black and white with complicated designs. Some of the best pottery pieces apparently had holes deliberately punched into their centers before they were placed in burials underneath house floors, but we do not know why.

Plainware globular jar with pointed bottom, straight rim and circular mouth. Geometric designs incised on collar in paired rectangles.

This pottery doll wears hanging earrings and a necklace (both of dark blue and white beads), bracelets on either wrist (of sea-blue beads), and purplish-black yarn around waist which holds a red skirt. The black, thick hair falls straight with a bang effect at the forehead. Openings in ear lobes, nostrils, and mouth--eyes are black and white. Slight suggestion of breasts: toes and fingers defined. Brown line designs cross the eyes, jaws and chin and begin at the collar bone on the torso and continue, vertically, down the chest, arms and legs. Her skirt is wrapped around the waist and fastened with a yarn waistband.