Made ca. 1930-1942, this small jar has a large visual impact. The polychromatic design is carefully composed and fits the jar well. Nampeyo smoothed out the clay coils with her fingers and these striations can be seen and felt on the interior of the jar.
Although painted by a daughter, the painting reflect several of Nampeyo’s iconic design elements: There is a tension between several horizontal linear elements and the curvilinear red elements; negative space is used to highlight the design; and the rim has the thick-above-thin framing lines Nampeyo used on her bowls. See Appendix B for a discussion of Nampeyo’s Sikyatki Revival design strategies. As detailed in Appendix E, the small “e” in the signature indicates this pot was painted by either daughter Nellie or grandchild Daisy, Rachael or Beatrice.
As on 2001-07 by Fannie, the black is inky-dark and the red clear and uniform.