necessary to claim authorship of their work. The unsigned pieces were most likely made between the years of 1918 and 1923. Once Maria gained success with her pottery she began signing her work as "Marie." She thought that the name "Marie" was more popular among the non-Indian public than the name "Maria" and would influence the purchasers more. The pieces signed as "Marie" were made between 1923 and 1925. Even though Julian decorated the pots, only Maria claimed the work since pottery was still considered a woman's job in the Pueblo. Maria left Julian's signature off the pieces to respect the Pueblo culture until 1925. After that, “Marie + Julian” remained the official signature on all of the pottery until Julian's death in 1943. Maria's family began helping with the pottery business after Julian's death. From 1943 to 1954 Maria's son, Adam, and his wife Santana, collected clay, coiled, polished, decorated, and fired pottery with Maria. Adam took over his father's job of collecting clay and painting the decorations. “Marie + Santana” became the new signature on the pots. For about thirty years Maria signed her name as “Marie.” Once her son, Popovi Da, began working alongside his mother, Maria began referring to herself as “Maria” on the pottery. They began co-signing their pieces around 1956 as “Maria+Poveka” and “Maria/Popovi." She won many awards and presented her pottery at several world fairs and received the initial grant for the National Endowment for the Arts to fund a Martinez pottery workshop in 1973. Martinez passed on her knowledge and skill to many others including her family, other women in the pueblo, and students in the outside world. When she was a young girl she had learned how to become a potter by watching her aunt Nicolasa make pottery. During the time that she developed what we now know as the San Ildefonso style of traditional pottery, she learned much from Sarafina Tafoya, the pottery matriarch of neighboring Santa Clara Pueblo. When in 1932 she was asked to teach by the government Indian school in Santa Fe, Martinez refused to do so: "I come and I work and they can watch," she stated. Her family members had not taught her, and she would not do it herself either - "nobody teaches." Honors Martinez received honorary doctorates during her lifetime from the University of Colorado and the University of New Mexico. Her portrait