Hopi redware bowl, Nampeyo, circa 1915. This is the first Nampeyo bowl in this collection.
The body of this pot is made from yellow “sikyatska” clay that fires red; it is not just sikyatska slipped. Since the yellow clay is difficult to work, this is unusual. The extra rim coil is a trademark of Nampeyo’s bowls (Blairs, YYY:pp).
Design is a reinterpretation by Nampeyo of an old Sikyatki “Man-eagle/Thunderbird” figure design. See Fewkes (1973:59 and 129) for a discussion of the Sikyatki design. The original design had a central body core and what Nampeyo drew as two separate birds were originally the wing elements of a single abstract bird figure.Double-bird design with two black framing bands. Notice that the placing of the wings of the two birds is different, indicating a certain spontaneity of design.
Sixty Nampeyo pots are now part of the collection. [See Nampeyo #1 through #4 in the Artist List.] In Appendix D I rank these pots and wrote of bowl 1988-01:
“A fine example of her work, but the design is too balanced and therefore not dynamic enough to get an “A.” The design is also a bit simple: You glance at it and “get” the impact; it does not draw your eye in and play tricks like a great Nampeyo pot. If viewed with the two birds rotated so that the design is off vertical, the design is more dynamic. The + is because it’s made of “sikyatska” yellow clay that fires red. These are uncommon for Nampeyo. For example, the State Museum of Arizona (Tucson) has a great Nampeyo collection, but only one red-clay pot.”
I graded bowl 1988-01 with a “B+” about 60th percentile of all Nampeyo bowls in the collection
A 1993 estimate by Rick Dillingham dates the bowl at 1910-1915 and adds that it was painted either by Nampeyo or by her daughter Annie. A 1988 description by Dillingham describes “Old Lady” Nampeyo as both potter and painter. [See Dillingham evaluations in my file.] Note that Nampeyo changed her mind about adding a line on the left-hand bird. The 1993 comment by Dillingham notes that
“the redware was popular in the time period mentioned (1910-1915) and was done by a number of potters. It enjoys a revival today with many potters working in yellow (it fires red) clay. The shallow bowl is typical of Nampeyo, patterned after Sikyatki found nearby.”
In July 1997 Barbara Kramer examined and appraised the bowl for me and wrote:
“Early in her career at the turn of the century, Nampeyo’s eldest daughter, Annie Healing, frequently painted black or black-and-white designs on red-slip vessels. The shape of the vessels and the painting of the designs identify those unsigned vessels as her work. However, after studying all of my photographs of vessels made by both Nampeyo, Hopi-Tewa potter ca. 1960-192, and her daughter, Annie, I am confident that the bowl was made and painted by Nampeyo for the following reasons: The shape is typical of Nampeyo bowls; Annie’s were shallower and not as deeply rounded. The design of the birds is painted impulsively and confidently; Annie’s painting is more studied and more delicate. I believe that the design of two birds, beak-to-beak was originally Annie’s design, but by 1912, Nampeyo and Annie were sharing motifs. The birds of this design completely fill the interior space, indicating Nampeyo’s bolder hand. The bowl has the character of Nampeyo’s work about 1915.”
Several other pots in my collection use variation of the “man-eagle” design. For another “man-eagle” bowl that was made by Nampeyo and painted by Annie, see 2006-01. See the “Man Eagle” section in the Category List for a complete listing of pots in this collection that use variations of this design.