Eagle Tail Design
Vase 2011-11 is kiln-fired and thus the undecorated, unpainted areas have a pale, blank look. The four linear sections of the design above four “tails” are busy, visually crowded and somewhat static. In contrast, the four sets of curvilinear “wings” are light and...
Eagle Tail Design
This pot is made with an unusual clay that fires red-tan. The color is neither as light as the grey clay that fires light tan nor as dark as the yellow clay that fires red. The pot is outdoor-fired but is not blushed. Neither is it slipped. The interior is polished...
Eagle Tail Design
The design on this pot is especially well done, and it fits the pot perfectly. This is as fine a signed Annie pot as I have seen. When viewed from above, the monochromatic black design is particularly delicate, intricate, and perfectly balanced—a bit like a snowflake....
Eagle Tail Design
The signature on 2009-01 is exactly the same as on 2001-07 and 2009-14 and is also the same as on 2007-12, except that the latter jar was formed by Nampeyo and painted by Fannie so the two words are reversed: “Nampeyo Fannie.” All four pots were probably made in the...
Eagle Tail Design
The design is a reproduction of the cover image of the catalog Historic Hopi Ceramics: The Thomas Keam Collection, by Wade and McChesney (1981). The cover image, in turn, is the linear projection of the design on a Polacca Polychrome Style D Revival pot (1890-1900),...
Eagle Tail Design
The signature on the bottom is faded and the pot listing garbled the signature with the comment “Signed for Osuana Nampeyo.” My sense was that it is signed “J Shamie Nampeyo,” with the “J” particularly difficult to read. On a visit to my home on 10/29/08, Rachel...
