imageRamona Peters - Nosapocket


Pottery of the Eastern Woodland Native American is rarely seen outside museum collections. The traditional forms of these pots are unique to the northeast region of North America. The styles of Wampanoag pots I've chosen to make available to collectors of Native American Art date back through 4,000 years before present (B.P.).

Each piece is coil constructed in the same manner as my ancestors. Most of my pots are not pit-fired, in order to preserve the clear details of design. The symbol at the upper left corner of each of these pages is my signature. It is found on my paintings, and is incised upon or inside each clay piece.

You may select a pot that is presently available or commission a special piece in the likeness of any displayed in the gallery. A commissioned piece will be available for delivery between 4 and 6 weeks. Prices include shipping, handling and insurance.

Your interest is greatly appreciated. Any inquiries or comments are welcome; write, call or Email.

For best results, these pages should be viewed in a video mode with more than 256 colors.

imageTrail Step Clay Sack September, 1995

Media: Light salmon clay.
Dimensions: height 8.5", circumference 32"

Cultural information: This piece carries one of the earliest pottery shapes of the Northeast region, dating 2,000-1000 BP (before present.) The sack shape was an early cookware alternative to stone vessels. This pot is decorated with more care in details than my ancestors would have, yet it remains a traditional style Wampanoag cooking pot. The word "sack" is used to suggest that this pot is travel-ware.

Artist's comment: The deep line work creating a path around the vessel and the dot dash pattern are my ways, through symbols, of honoring ages ago.


imageOne Thumb Pot February, 1995

Media: Light salmon clay, with white clay inlaid designs.
Dimensions: height 22", circumferences: collar 29", neck 24-1/2", body 33"

Cultural information: This type of pot would commonly be used inside the wetu (wigwam). Its color, along with the white clay inlay, help protect the pot from being accidentally kicked. The wetus were constructed without windows; only the doorway and smoke hole lit up the homes' interior.

Artist's comment: This is the first piece I made after losing my left thumb while doing boat building millwork Oct 31,1994. The One Thumb Pot has a softness that I'm delighted to have emerge through my work. I am also very comforted that the coils can be rolled as delicately as this. The One Thumb Pot was purchase in Koganei, Japan by Ms. Ayako Yodoi , at it's first showing March 1996.


imageYoung Womens Lap Bowl September, 1992

Media: Dark salmon color clay, with iron oxide wash applied to exterior surface.
Dimensions: height standing 4.25", rim circumference 24.9"

Currently displayed at Many Nations Gallery, Concord, MA.


imageWhite Gallon Clay Sack September, 1995

Media: White clay body, with painted on red ochre and black slip.
Dimensions: height 9-1/4", body circumference 29"

Cultural information: This clay sack is a ceremonial piece. The red ochre is used to stabilize and ground the ceremonial intent.


imageCape Cod Style Wampanoag Cooking Pot June, 1995

Media: Clay composition of lower section includes crushed oyster shell, fresh-water beach sand and crushed conglomerate rock containing silica.
Dimensions: height 22", circumferences: collar 29", neck 24.5", body 33.3"


imageSunburst Berry Pot September, 1992

Media: Light salmon color clay, crushed freshwater clam shell.
Dimensions: height 16.75", circumferences: collar 27", neck 16.75", body 31"

Cultural information: This piece could be called an "Indian Tea Pot". The natives knew of many wonderfully delicious brews to quench the thirst. These pots have the natural feature of "sweating" which automatically cools the beverage to temperatures as low as the glacier-melt springs found in the area.


imageWhale Oil Pot August, l992

Media: Clay (from Martha's Vineyard) with red orchre wash applied on exterior.
Dimensions: height 12", circumferences: collar 21.8", neck 19.4", body 24"


imageAttushquoag Pipe (Noblemen's Pipe) September, 1992

Media: Dark salmon color clay/crushed ceramic grog.
Dimensions: length 7.25"


imageBear Clan Pipe September, 1992

Media: Red clay of Martha's Vineyard, MA.
Dimensions: length 5.75"


imageFour Face Pot September, 1992

Media: Dark salmon color clay, with red ochre wash applied on exterior surface.
Dimensions: height 17.5", circumferences: collar 32", neck 23.25", body 34.9"


imageClan Mother's Pot July, 1992

From the Artist's collection.

Media: Light terra cotta color clay, with powdered oyster shell.
Dimensions: height 20", circumferences: collar 35", neck 28.9", body 39.9"

Ceremonial use only. Not available for purchase.

imageAncient Lately May, 1996

Media: Medium terra cotta clay. Highly decorated with carving, incised lines and dotted tattoos.
Dimensions: height 12-1/2", circumferences: collar 26", neck 17", body 25"

Cultural information: The shape of this pot carries the traditional Wampanoag ceramic characteristics. There were very few Eastern Woodland Native American pot builders who put this much decoration on their pots before the year 1700.

Artist's comment: I built this pot's full body in form before I left for a trip to Japan and Burma. During my exhibit at The Gallery Brocken, in Japan, many of the Japanese collectors and artists commented on the similarity between Wampanoag pottery and pottery from their Early Jomon Period. After having seen such astounding art in cultural traditions that touched my soul there in Japan, I came home somewhat changed. Traditional Wampanoag pottery had stayed basically the same in form for 6,000 years. Those forms are the basis of my creations. However, until I went to Japan, I had not encountered any people who truly understood what they were looking at in terms of traditional form that endures millennia. This clay body held the perfect green state of water, earth, air for me to adorn it for three months.


imageNight Guardian July, 1996

Media: Medium terra cotta clay.
Dimensions: height 9-3/4", circumferences: body 21", top rim 18"

Cultural information: Night Guardian is an owl form. Some Native Americans call the owl a night eagle.

Artist's comment: This pot sits as an owl would; still, soft, feeling like it's day blind. It has a natural dignity about it, that makes me call it "Night Guardian".


imageCape Cod Bay Clay Sack October, 1995

Media: Medium brown clay, with crushed oyster shell grog.
Dimensions: height 15" with stand, body circumference 48"

Cultural information: This is a very large vessel. It could hold a bushel of clams easy. The designs on the outer body are modest, giving recognition to the overall size of the piece.

Artist's comment: I'm especially proud of the thin walls I was able coil for a pot this large. The value was always higher on thin walled pots amongst my people.


imageLegend of Mashpee Pond July, 1996

Media: Reddish brown clay and powdered fresh-water clam shell.
Dimensions: height 24" with stand, circumferences: collar 52", neck 44", body 48"

Cultural information: Mashpee Pond is a special place where generations of the Mashpee Wampanoag People have gone for spiritual nourishment and mental recreation. Ponds can be likened to clay pots, since ponds are lined with a clay material that contains the water. There are legends that say the Mashpee pond can be lifted up by chosen Mashpee tribal people.

Artist's comment: I was floating and trying to visualize that event, of being lifted in the pond. My visual reverted to a sensual instead and this is what emerged. The first of a series of pond pots I intend to float and feel this summer on the Cape.


imageTaino on Wampanoag October, 1994

From the collection of Ms. Camille Ayala Pitterson

Media: White clay body, no grog. Combination of incised lines and carving with relief.
Dimensions: height 12.6" with stand, circumferences: collar 22", neck 17", body 24"

Cultural information: This pot has ancient Taino glyphs incised all around a traditional Wampanoag pot form. These fantastic images can be seen on cave walls and huge rocks, on the Island of Puerto Rico. The collar design is meant to represent canoes, that would have brought our people together.

Artist's comment: This is truly a bicultural piece. It was inspired by my friendship with Camille and many visits to St. Croix. She is one of many devote cultural activists of Taino decent keeping the life of their culture nurtured. I love the thoughts and feelings these glyphs evoke in me. Each one has a strong personality that captures my imagination. I find their quality of timelessness and innocence to the most pleasing.

imageThe Sophia Pot November, 1995

From the collection of The Daughters Of Wisdom

Media: Medium terra cotta clay, inlaid white clay, black slip, and painted on red ochre.
Dimensions: height 33", circumferences: collar 25", neck 19", body 38"

Cultural information: I was commissioned to make a special pot for an innovative Catholic Order of Nuns. Through ultramontane research and consultation with one of the Sisters of this Order, I created this ceremonial vessel for their use. The name Sophia appears in early versions of Catholic scriptures as a Goddess figure.

Artist's comment: To make a commissioned pot that is likely to be used is always an important commission for me. The designs on this pot needed to symbolically represent concepts that are foreign to my culture. I really enjoyed the challenge . These women have sent me cards of thanksgiving and are indeed using the pot as a group in a circle.

imageDances In The Rain September, 1996

From the collection of Ms. Jeannie Abbott

Media: Medium terra cotta clay with crushed oyster shell temper and painted on red ochre.
Dimensions: height 15", circumferences: collar 23", neck 15.3", body 26"

Cultural information: The size of this pot gives it versatility and it’s collar would allow the user to lay the pot on it’s side to fry foods. The red ochre was applied to this piece to express my high esteem for Ms. Abbott.

Artist's comment: I’ll take this opportunity to say to the world that Ms. Abbott is a wonderful and dear friend of mine. She is an especially gifted artist with a keen understanding of multi-dimensional patterns. This is the first pot of mine that I felt was good enough to give to Jeannie. She has taught me values of and in patterns that few could conceive of without her type of spiritual endowment. She who has danced in the rain.


Home Page

Copyright 1995-97 Ramona Peters. All Rights Reserved.