Native American Vintage Hope Pottery Bowl by Darlene Nampeyo, Ca 1980's, #1421
$ 3,300.00
Native American Vintage Hope Pottery Poly Chrome Bowl by Darlene Nampeyo, Ca 1980's, #1421
Description:#1421 Native American Vintage Hope Pottery Poly Chrome Bowl by Darlene Nampeyo, Ca 1980's, Large, impressive, poly chrome-on-yellow jar with unique original design. Darlene (b. 1956) was Nampeyo's great-great-granddaughter.Ca.
Dimensions: 7-1/2" x 10-1/2"
Condition: Very good condition, very minor scuffs.
Darlene James Nampeyo (1956 -) Hopi/Tewa, Corn Clan, Polacca, was active 1986-present; black and red on yellow vases, figurines of maidens, tiles, plates, jars and bowls. Darlene is the Great-great granddaughter of Nampeyo; grand-daughter of Rachel Nampeyo; daughter of Ruth James Nampeyo and Dalton James; former wife of Felix Vigil; mother of James Francis Vigil and Adam Spencer Vigil. Darlene won numerous awards over the years, including seven from Indian Market in Santa Fe, New Mexico. "I feel very fortunate coming from a family of well know Hopi-Tewa potters...Each of us is unique in our own style... I draw inspirations from the landscape, songs, dances, stories and prayers. The combination of these elements goes into each pot I create. Clay is the earth and its existence is molded into beauty by the artistic talents that we possess." - Darlene Nampeyo (Schaaf 1998) Reference: Hopi-Tewa Pottery: 500 Artist Biographies by Gregory Schaaf. (Source Adobe Gallery)
A History of Pueblo Pottery:
“Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive.
Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features.
Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber.
Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares.
Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result.
Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)
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Description:#1421 Native American Vintage Hope Pottery Poly Chrome Bowl by Darlene Nampeyo, Ca 1980's, Large, impressive, poly chrome-on-yellow jar with unique original design. Darlene (b. 1956) was Nampeyo's great-great-granddaughter.Ca.
Dimensions: 7-1/2" x 10-1/2"
Condition: Very good condition, very minor scuffs.
Darlene James Nampeyo (1956 -) Hopi/Tewa, Corn Clan, Polacca, was active 1986-present; black and red on yellow vases, figurines of maidens, tiles, plates, jars and bowls. Darlene is the Great-great granddaughter of Nampeyo; grand-daughter of Rachel Nampeyo; daughter of Ruth James Nampeyo and Dalton James; former wife of Felix Vigil; mother of James Francis Vigil and Adam Spencer Vigil. Darlene won numerous awards over the years, including seven from Indian Market in Santa Fe, New Mexico. "I feel very fortunate coming from a family of well know Hopi-Tewa potters...Each of us is unique in our own style... I draw inspirations from the landscape, songs, dances, stories and prayers. The combination of these elements goes into each pot I create. Clay is the earth and its existence is molded into beauty by the artistic talents that we possess." - Darlene Nampeyo (Schaaf 1998) Reference: Hopi-Tewa Pottery: 500 Artist Biographies by Gregory Schaaf. (Source Adobe Gallery)
A History of Pueblo Pottery:
“Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive.
Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features.
Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber.
Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares.
Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result.
Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)
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View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav
