The middle of three generations of award-winning potters, Maxine is renowned for her pared-down, graceful style.
This extraordinary Nativity stuns with its powerful aura of spirituality, as well as its elegance.
The lamb and the donkey are smiling happily, but the figures of Mary, Joseph and the angel are fervently chanting prayers of thanks and praise.
Unusually, the footed cradle is bare; Mary is cuddling the Infant in her arms.
All three major figures are warmly wrapped in blankets against the winter chill.
Joseph has his draped around his whole body and over his head. Only the tips of his moccasins show underneath.
Mary wears a beautifully decorated manta – the Pueblo one-shouldered dress – under her minimally draped blanket.
The angel’s robe is crossed over in front, and allows the feather-decorated wings to protrude.
Even the donkey has a fringed saddle blanket thrown over his back. The lamb’s coat is thick with sculpted fleece; no need for more here.
In Pueblo tradition, the donkey stood over the Baby’s cradle, warming Him with his breath.
Aside from the emotional intensity, this group is notable for the abstracted forms of incomparable grace.
The finish of the natural clay and clay slips is refined; there is no superfluous ornamentation to disrupt the serenity and hushed power of the piece.
Delicately painted patterns, and a lovely mix of matte clay and shimmering micaceous clay slip, provide just enough embellishment.
Natural russet and cream clays, and black paint from wild spinach plants, are earthy contrasts to the warm hues.
Simplicity, refinement, and lyrical curves are hallmarks of this artist.
Her tranquil, yet intensely emotional, style belies great skill, as well as remarkable artistry.
This splendid Nativity is destined to become a family heirloom; enjoy it now, and for years to come.