1880s to 1900 Transition Ware, White-Slip Ware
The eccentricity of this pot makes the following analysis both complicated and detailed. As a guide, this catalog entry has the following eight sections: I. Introduction II. Form III. “Pure Abstraction,” an unusual design motif IV. Design V....
1880s to 1900 Transition Ware, Eagle Tail Design, Polacca Ware
The iconic Nampeyo pot is a Sikyatki Revival low-shouldered jar with her eagle-tail design. This collection contains such a pot (2005-16) dating from about 1905. So identified is this design with Nampeyo that the pot is recognizable as “by Nampeyo” from...
1880s to 1900 Transition Ware, Kachina Design, Polacca Ware, Polik'Mana
The two rectangular vessels in the collection This “tray” is really a painted tile surrounded by a 1.6-inch high wall. If it were only a tile, it would likely be one of the largest Nampeyo tiles known. One prehistoric example of this tray form is documented. Based on...
1880s to 1900 Transition Ware, White-Slip Ware
The form of this jar is unusual; lobed pots are not generally made at Hopi. The painting features motifs that are typical of Nampeyo’s work. A notation on the bottom of the jar indicates that it was purchased in 1917. Because Nampeyo had substantial visual impairment...
1880s to 1900 Transition Ware, Folk Art Bird Design
Pot 2015-05, ca late 1880’s This is an engaging, beautiful jar. For all its beauty, it is also a jar of contradictions; from their interaction would come a renaissance of Hopi pottery. Jar 2015-03 allows us a glimpse into the creative mind of the young Nampeyo....
1880s to 1900 Transition Ware, Kachina Design, Polik'Mana
Form: Since prehistoric times Hopi women formed flat “tiles” of clay that were fired and then ground to use as temper in the formation of pots. Some decorated tiles may have been made for ritual use in the kivas (Wright, 1977:64). In 1875 Thomas Keam opened the first...
