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Native American Antiques Historic Pueblo Pottery Steve Elmore Indian Art Native American Antiques, historic pueblo pottery, kachinas, Indian baskets, old pawn jewelry, Navajo weavings and textiles, other Tribal art and Contemporary Paintings by Steve Elmore all at Steve Elmore Indian Art, Santa Fe, New Mexico.
Large Hopi Polychrome Open Bowl by Jeremy Adams Nampeyo
Jeremy Adams Nampeyo fired this large Hopi open bowl in August of 2021. Jeremy is a young, up-and-coming sixth generation Nampeyo family traditional potter, who learned pottery-making from his mother, Vernida Polacca Nampeyo. Vernida is the great-granddaughter of Nampeyo, and granddaughter of Fannie, Nampeyo's most masterful potting daughter, who instructed Vernida in the family tradition. Jeremy took inspiration for the design and form of this bowl directly from a large open bowl by Nampeyo in Steve Elmore's collection. The red sky band with eagle tail feathers and avian themes are all classic examples of Nampeyo's designs. The bowl measures 3 1/2" height and 13 1/4" diameter, and is in excellent, original condition. The first photo shows Jeremy and Vernida posing with the bowl. We are proud to represent Jeremy's work as he continues to master the traditional pottery his family is known for.
Hopi Polychrome Head by Nampeyo, c.1915
Nampeyo made this polychrome effigy around 1915. The piece shows clear influence from Emry Kopta, the Austrian sculptor who lived at First Mesa for twelve years and was known for his own ceramic busts. Walter Hough, anthropological curator at the Smithsonian, wrote an article about Kopta and Nampeyo’s collaboration in clay.
A band of eagle feathers decorates the head on this piece, with more feathers and kiva steps at the neck. The ears are charmingly adorned with painted earrings. The effigy measures 6 ½ height, 4 ½” depth, and 5 ¼” width, and is in excellent, original condition. This superb example of Nampeyo’s eccentric form and influence from the Western world would be a highlight of any collection of Hopi or Pueblo pottery.
Now available on our website—link in the comments.
Acoma Polychrome Parrot and Rainbow Jar by Marie Z. Chino
Although unsigned, this Acoma polychrome jar is clearly the work of Acoma master potter and matriarch Marie Z. Chino (1906-1982). The classic parrot and rainbow design on this jar matches those on other pieces by Marie (see full description on our website). The design is well-executed and symmetrically fits the thinly-molded jar. The parrot and rainbow design fired a little darker on one side, evidence that the jar was traditionally pit-fired. The jar measures 8 ¾” height and 10” diameter, and is in excellent, original condition. Marie had five daughters who became potters, most notably Grace Chino and Rose Chino Garcia, and she nurtured both her children and grandchildren’s pottery careers.
Hopi Polacca Kachina Tile by Nampeyo
This Hopi Polacca kachina tile by Nampeyo dates to the late 1880s. The tile has an old Fred Harvey "From the Hopi Villages" label on the back. The Polacca slip has some craquelure, indicative of Nampeyo's early work, when she had not yet perfected the thickness of her slips. The image of the kachina face is similar to those on other tiles Nampeyo made during this period, many of which are in museum collections. The tile measures 3 3/4" height and 3 3/8" width, and is in excellent, original condition.
Please note this piece has sold.
Large Hopi Polychrome Open Bowl by Fannie Nampeyo
This impressive large Hopi polychrome open bowl was made by Fannie Nampeyo in the 1920s, and sports Fred Harvey “Hopi Villages” stickers on the bottom with her name. Fannie Nampeyo was the most accomplished of Nampeyo’s three potting daughters, known for both her excellent molding and painting. This large bowl is well-molded with a rolled-in rim. The design fills the interior of the bowl, and has the bold black elements and delicate textured painting that Fannie’s work is known for. The bowl measures 4 ¼” height and 13 ¼” diameter, and is in excellent, original condition. Compare the design on this bowl to the bowl molded by Nampeyo and painted by Fannie, inventory number P4386 on our website (link in the comments).
Hopi-Navajo Green Seed Jar by Nathan Begaye
Hopi-Navajo master potter Nathan Begaye (1958-2010) made this green seed jar in 1991. The bottom of the jar is dated 2-22-91, along with the artist’s signature. The jar exemplifies Nathan's skill as a potter, from its symmetrical hand-coiled molding to the original abstract design. This piece is an excellent example of Nathan’s innovation as a potter, combining traditional Hopi and Navajo themes with abstract expressionism. The jar measures 4 ½” height and 8 ½” diameter, and is in excellent condition with one hairline firing crack repair.
Read Nathan's full biography on our website—link in the comments.
Hopi Polacca Open Bowl by Nampeyo, c.1890-94
Nampeyo made this Polacca open bowl around 1890-1894. This early example shows Nampeyo working with traditional Hopi forms like this open bowl with a lug at the top for hanging. The bowl is unsigned, as is all of Nampeyo’s work, but it has her signature glyphs on the outside of the bowl, and “rain drops” on the rim. The design is abstract and completely original, and seems to have a textile theme, referencing the traditional blankets the Hopi men would weave. The bowl measures 9 ¼” diameter, and is in excellent, original condition, with some wear consistent with its age. An old Fred Harvey sticker on the back reads “From Moqui Pueblo Indians, N.W. of Jettyto [sic] Spring, Arizona.” Moqui is an antiquated term for Hopi, and this sticker is another indication of the bowl’s early age.
Hopi Yellowware Seed Jar with Corrugated Ridge by Nampeyo, c.1905
This Hopi yellowware seed jar was made by Nampeyo (1856-1942) around 1905. This jar is an excellent example of Nampeyo experimenting with innovative ideas, exemplified by the corrugated ridge she created around the mouth of the jar. We have seen other examples of Nampeyo using corrugation in her designs from this period, and the ridge she has created here is unique. The design is traditional Hopi and is executed well, with great movement around the mouth of the jar. The jar was traditionally pit-fired, and the yellow clay shows a full tonality from burnt orange to ivory. There is a similar piece published in “Canvas of Clay.”
The jar measures 4” height and 6 ¾” diameter, and is in excellent, original condition.
60% of the sale of this jar will be donated to the Hopi Education Endowment Fund.
Acoma Black on White Jar, c.1885-1895
This stunning Acoma black on white water jar dates to the late 19th century. The jar has a deep concaved, red-slipped base. The central four directional design is well-framed by two checkerboard bands. The jar is traditionally pit-fired and has a big presence, measuring 11” height and 11” diameter. There is an old Fred Harvey sticker near the top of the jar that identifies the jar as being from Acoma Pueblo. The jar has minor abrasion on one side, and is in overall excellent, original condition. This jar is a superb example of the more vase-like form from this ceramic period.
Now available on our website.
Acoma Black on White Lightning Jar by Marie Z. Chino
This masterpiece-level Acoma jar by matriarchal potter Marie Zieu Chino (1906-1982) dates to the 1960s, the peak of the 20th century Acoma pottery revival. Along with her contemporaries Jessie Garcia and Lucy M. Lewis, Chino revived Tularosa and Mimbres-influenced traditional pottery at Acoma. Marie had five daughters who became potters, most notably Grace Chino and Rose Chino Garcia, and she nurtured both her children and grandchildren’s pottery careers.
This jar features an intricate lightning design, which Marie is perhaps best known for. The neck of the jar is encircled by a curvilinear floral design that contrasts with the dynamic lightning design. The design is extremely well-executed, and the jar fired well, with the black design in stark contrast with the white clay. The jar is thinly-molded and completely traditionally made, including pit-firing. The jar is above average in size and measures 11 ¼” height and 10 ¼” diameter, and is in pristine, original condition. This jar is exemplary of Marie Chino’s skill as a potter, and would be an excellent addition to any collection of Pueblo pottery. Provenance: an old Santa Fe family.
Now available on our website.
Hopi Wakas “Cow” Kachina Doll by Vernon Mansfield
This Hopi Wakas “Cow” kachina doll showcases the bright pigments and attention to detail that celebrated contemporary kachina carver Vernon Mansfield (1931- ) is known for. The doll is traditionally carved from cottonwood root and is unsigned, although clearly Vernon’s work. This is quite a large doll, measuring 12” height, and he stands on his own or looks great hanging on a wall. The doll depicts the popular cow kachina, Wakas, which was introduced only after the arrival of the Spanish, who brought cattle with them.
This doll and more are available on our website—link in the comments.
Acoma Black on White Plate by Anita Lowden
This black on white Acoma plate is an excellent example of the work of Anita Garcia Lowden (1930-1970), the daughter of the Jessie Garcia and sister of Stella Shutiva, two other matriarchal potters. Anita was one of the first Acoma potters to use Mimbres designs on her pottery. This plate features classic Mimbres bird designs and fine line, and dates to the 1960s, when the Mimbres revival at Acoma was at its peak. The plate is clearly signed “Anita Lowden Acoma, New Mexico,” and measures 1” height and 9” diameter. This excellent example is completely traditionally made, and showcases Anita’s superior potting skills.
Now available on our website.
Check our website for new works by Rachel Sahmie from her recent show, including this Hopi Parrot Effigy Pottery Rattle:
This effigy jar by Rachel Sahmie was inspired by prehistoric jars of its kind from Sikyatki—specifically, an example in Chicago's Field Museum. At least one species of parrot was once native to the Southwest, and parrots were featured in the ancient kiva murals of the Hopi villages Awatovi and Kawaika-a, as documented by Watson Smith in 1952. Parrots also made their way to the Southwest from Mexico through Indigenous trade routes.
Rachel has made several of these parrot effigies over the years, however, this one is unique as she has given it a handle and turned it into a rattle. The handle has clay balls fired into it, which rattle nicely when shaken.
The rattle measures 5 1/4" height and 11 1/4" length, and is clearly signed with Rachel's Hopi name, "Nampeyo Koo Loo," on the bottom. Rachel fired this jar in December 2021.
Rachel Sahmie is a fifth generation master potter, and is the great-great-granddaughter of the matriarch of Hopi pottery, Nampeyo (1856-1942).
Hopi Yellowware Open Bowl by Nampeyo, c.1905-1910
This Hopi open bowl was made by Nampeyo around 1905-1910, and is an excellent example of her working in her yellow slip. Both the bowl’s molding and its design represent Nampeyo’s skills at their height—the bowl is at the masterpiece level. The bowl has her signature four pairs of rain drops on the rim, and an indented rim with an extra coil. The design is classic Sikyatki Revival, with swirls and avian themes, yet Nampeyo has arranged them into her own original design. The bowl also has Nampeyo’s classic red sky band at the top. The bowl is well-fired, with a beautiful tonality in the clay ranging from ivory to burnt orange, which can only be achieved from traditional pit-firing.
The bowl measures 2 ¾” height and 9 ¾” diameter, and is in excellent, original condition. This is a superb example of Nampeyo creating her own original design from Sikyatki themes.
Now available on our website under “Recent Acquisitions.”
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