NavajoSilasBerthaClaw

Vessels can be either inscribed or painted: "S.B. Claw" (Silas Burns Claw), "Silas and Bertha Claw", "S.B.", "S.B.C."

Silas was born sometime between 1911 and 1915 and passed away in 2002.

Bertha was born in 1926.

Silas and Bertha Claw lived in the Northwestern part of the Navajo Reservation near Shonto and Cow Springs, Arizona. During his early years, Silas was sent off-reservation to a boarding school. He later returned to the reservation with an eighth-grade education. Silas had learned to speak English during this time. Very few children of this era were educated, Bertha, who was not as privileged as Silas, only speaks Navajo. The Claws never had any children of their own, but helped raise ten nieces and nephews that belonged to Bertha's brother who lived nearby.

Silas and Bertha raised sheep on their farmed that they inherited from Bertha's family near Cow Springs. Silas would regularly seek seasonal employment to supplement their income. Through his life Silas experiences found him working with the Civilian Conservation Corps (Indian Division), picking vegetables in Utah, doing railroad track repair, and archaeological excavations. During the 70's, Silas worked the excavations of Black Mesa and other areas of the reservation. He also was a field assistant and interpreter for Scott C. Russell (Anthropologist).

Silas and Bertha began to make pottery during the mid-1960's, they learned from Bertha's mother and grandmother. Bertha usually made the vessel body, while Silas would do any of the decorating. Their earlier vessels (during the mid-60's to 70's), were traditional and conventional in both form and manufacture, staying with the pitch-covered bowls and cooking vessels intended for use by the Navajos, with some variety of shapes being made for tourists. It was during this early stage that the Claws' production of pottery had a couple of changes....a marine varnish was substituted on items made for commercial sale to the tourists, while they continued to use the pitch only for fellow Navajos. The marine varnish gave a similar effect without the time involved with gathering and applying pitch. It was also during this time that they began to add applications to their wares. During the 70's the Claws as well as some other area potters began adding appliques of ears of corn, plants and other items placed around the vessel. This new technique was strictly of economic interest, making their wares more desirable. Using the varnish also worked best with these new appliques because the pitch tended to puddle up and obscure the details of the decorations.

The Claws used clay from a nearby deposit. Temper was ground up prehistoric pottery sherds that they would find near Tuba City. The sherds were ground up on a metate. Bertha would make the vessels then wrap them in plastic bags to keep them moist until Silas would make the appliques. They used would put the vessels on top of their wood-burning stove until dry, then they would fire the pieces by putting them inside the stove for 30 minutes to an hour. Larger pieces would be fired outside.

During the mid-1970's to mid-80's, the appliques expanded into new forms. Silas said that he first started with acorns and leaves. Then later added pine cones, corn ears, horned toads, yucca plants, and animal heads, all in that order. Most of the figurative pottery made after the 1980's included the used of bright acrylic paint. The appliques prior to this time were all left unpainted, though on occasion Silas would use a translucent tint to highlight features. The acrylic painting was done after firing and either before or after varnishing. It was also during this time that the Claws made some pieces with etched and painted scenes. During the 80's, their nieces, Ella Shortman and Daisy Tate began to help with making the pottery. It is believe that Silas and Bertha may have produced over 4,000 pieces in their thirty-plus years of pottery making.

Vessel Forms: Cooking Vessels, Bowls, Canteens, Two or Three Spouted Wedding Vases, Pitchers, Vases, Pipes, Effigies, Tableaus, Folk Art, Jewelry

1N Circa Mid-1970's to Mid-1980's

Canteen with hanging/carrying lugs and a raised horned toad design.

Approximate Dimensions: 11 1/2" by 11" by 7"

2N Pottery Pipe with Bear Effigy signed S.B. Claw

References:

American Indian Art Magazine; Spring 2007

"The Navajo Pottery of Silas and Bertha Claw"

By Ed Dobbins and Scott C. Russell

Pages 56-65

R.G. Munn Auction, LLC; March 2006

(Lot # 97)

R. G. Munn Auction, LLC - October 2001

(Lot # 119, #862)

This page last revised: 08/22/2009

We welcome your linking to our site, however all documents, webpages, photographs and images are the property of www.rarepottery.info. Permission is required to copy, download or use any text, photographs or image files.

WWW.RAREPOTTERY.INFO SILAS & BERTHA CLAW NAVAJO POTTERS


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	Vessels can be either inscribed or painted: "S.B. Claw" (Silas Burns Claw), "Silas and Bertha Claw", "S.B.", "S.B.C." Silas was born sometime between 1911 and 1915 and passed away in 2002. Bertha was born in 1926. Silas and Bertha Claw lived in the Northwestern part of the Navajo Reservation near Shonto and Cow Springs, Arizona. During his early years, Silas was sent off-reservation to a boarding school. He later returned to the reservation with an eighth-grade education. Silas had learned to speak English during this time. Very few children of this era were educated, Bertha, who was not as privileged as Silas, only speaks Navajo. The Claws never had any children of their own, but helped raise ten nieces and nephews that belonged to Bertha's brother who lived nearby. Silas and Bertha raised sheep on their farmed that they inherited from Bertha's family near Cow Springs. Silas would regularly seek seasonal employment to supplement their income. Through his life Silas experiences found him working with the Civilian Conservation Corps (Indian Division), picking vegetables in Utah, doing railroad track repair, and archaeological excavations. During the 70's, Silas worked the excavations of Black Mesa and other areas of the reservation. He also was a field assistant and interpreter for Scott C. Russell (Anthropologist). Silas and Bertha began to make pottery during the mid-1960's, they learned from Bertha's mother and grandmother. Bertha usually made the vessel body, while Silas would do any of the decorating. Their earlier vessels (during the mid-60's to 70's), were traditional and conventional in both form and manufacture, staying with the pitch-covered bowls and cooking vessels intended for use by the Navajos, with some variety of shapes being made for tourists. It was during this early stage that the Claws' production of pottery had a couple of changes....a marine varnish was substituted on items made for commercial sale to the tourists, while they continued to use the pitch only for fellow Navajos. The marine varnish gave a similar effect without the time involved with gathering and applying pitch. It was also during this time that they began to add applications to their wares. During the 70's the Claws as well as some other area potters began adding appliques of ears of corn, plants and other items placed around the vessel. This new technique was strictly of economic interest, making their wares more desirable. Using the varnish also worked best with these new appliques because the pitch tended to puddle up and obscure the details of the decorations. The Claws used clay from a nearby deposit. Temper was ground up prehistoric pottery sherds that they would find near Tuba City. The sherds were ground up on a metate. Bertha would make the vessels then wrap them in plastic bags to keep them moist until Silas would make the appliques. They used would put the vessels on top of their wood-burning stove until dry, then they would fire the pieces by putting them inside the stove for 30 minutes to an hour. Larger pieces would be fired outside. During the mid-1970's to mid-80's, the appliques expanded into new forms. Silas said that he first started with acorns and leaves. Then later added pine cones, corn ears, horned toads, yucca plants, and animal heads, all in that order. Most of the figurative pottery made after the 1980's included the used of bright acrylic paint. The appliques prior to this time were all left unpainted, though on occasion Silas would use a translucent tint to highlight features. The acrylic painting was done after firing and either before or after varnishing. It was also during this time that the Claws made some pieces with etched and painted scenes. During the 80's, their nieces, Ella Shortman and Daisy Tate began to help with making the pottery. It is believe that Silas and Bertha may have produced over 4,000 pieces in their thirty-plus years of pottery making. Vessel Forms: Cooking Vessels, Bowls, Canteens, Two or Three Spouted Wedding Vases, Pitchers, Vases, Pipes, Effigies, Tableaus, Folk Art, Jewelry 1N Circa Mid-1970's to Mid-1980's Canteen with hanging/carrying lugs and a raised horned toad design. Approximate Dimensions: 11 1/2" by 11" by 7" 2N Pottery Pipe with Bear Effigy signed S.B. Claw References: American Indian Art Magazine; Spring 2007 "The Navajo Pottery of Silas and Bertha Claw" By Ed Dobbins and Scott C. Russell Pages 56-65 R.G. Munn Auction, LLC; March 2006 (Lot # 97) R. G. Munn Auction, LLC - October 2001 (Lot # 119, #862) This page last revised: 08/22/2009 Copyright: 2007, 2008, 2009 All Rights Reserved. We welcome your linking to our site, however all documents, webpages, photographs and images are the property of www.rarepottery.info. Permission is required to copy, download or use any text, photographs or image files.