Pot 2019-18 is the second corrugated pot in the collection that I believe was formed by Nampeyo and painted by a relative. The other (2012-14) is not signed, but its size, form, design and quality of painting are very similar to the pot discussed here. Generally...
The painting on the exterior of jars is more constrained by the shape of the vessel than the painting on the broad interior of bowls. While this collection has eight other pots by Fannie, this is the first bowl and the largest piece by her in the collection. As a...
This is a simple tourist kitsch by an accomplished potter who could produce pots of high artistic quality. Like the cowboy ashtray by Nampeyo (also painted by Fannie, 2011-32), I include this pot in the collection to demonstrate the range of production required of...
As expected of a Sikyatki Revival pot, this small pot has the classic thick-above-thin framing lines around the opening and is well painted with stepped, cross-hatched and other typical Hopi-Tewa designs. The band of designs repeats twice such that the same design...
This little pot exemplifies Fannie’s best painting. Fannie had the longest and most extensive pottery career of any of the Nampeyo daughters. Hundreds—probably thousands—of her pots are in museums and private collections, and many of them are “great” pots. To my eye,...
