Hopi Polychrome Globular Jar [SOLD]

Dextra Quotskuyva Nampeyo (1928- ) grew up in a household of potters who worked everyday, making pottery to sell to tourists, dealers and museums. Her mother was Rachel Namingha and her grandmother was Annie Healing, oldest daughter of Nampeyo of Hano. Nampeyo was still alive when Dextra was born and Dextra got to know her great grandmother for a dozen years before Nampeyo passed away. As a young child, Dextra did what all young girls did—she helped gather and process clay. She later was allowed to fill in designs that were drawn on pottery. This was the learning process for young girls who would be a future generation of potters.

Dextra was encouraged by her mother, Rachel, to produce the traditional Sikyatki designs as other Nampeyo family members were doing. As a respectful daughter, Dextra did what her mother requested. After Rachel passed away, Dextra then began expanding her repertoire and developed her style of designs with which she would become known for the rest of her career.

Dextra said that she does not repeat designs, even if requested to do so. She said that each individual pottery vessel determines the design she will use. It is for this reason that Dextra became so highly demanded. Each of her pottery creations is unique and special.

This jar is very globular in shape with a short upturned rim which Dextra painted red. The design is a stylized bird and various bird parts. The beak of the bird is quite visible and the bird's crown is shown in stone-polished red clay. Wing feathers are grouped in fours and painted black. There is a three-feather design for the tail of the bird similar to that seen on more traditional Sikyatki-revival pottery.

The jar is signed Dextra and marked with the corn clan symbol. It is not dated.

Condition: original condition

Recommended Reading: Painted Perfection - The Pottery of Dextra Quotskuyva by Martha H. Struever

Provenance: from a gentleman from South Dakota