Hopi Tawaquaptewa Katsina Carving

There was a time at Hopi when there were concerns by some of the older generation about making katsina dolls for sale to non-Indians.  Yet, the allure of the financial aspect of selling them was appealing.  To overcome this dilemma, a Hopi elder named Wilson Tawaquaptewa solved the concern for himself by making katsina dolls that were not true representations of Hopi Katsinas. 

Tawaquaptewa had been born in 1873 and was, by the turn of the century, kikmongwi or chief of his village of Oraibi on Third Mesa.  Oraibi was the largest and most important Hopi village at that time and Tawaquaptewa’s Bear Clan was the most significant clan of the village.  From 1904 until his death in 1960, Tawaquaptewa held the position of kikmongwi, a testament to his importance and the respect paid him.  It was because of this position and his beliefs that he did not feel comfortable making true katsina dolls to be sold.

One would think that katsina dolls that were not accurate representation of true katsinas would not have interest among collectors, but dolls made by Tawaquaptewa are among the most sought by collectors.  Each of his dolls is unique, yet each is easily identifiable as the work of Tawaquaptewa.  There is a distinctive look to his work that sets it apart from other carvers.  Perhaps the allure of collecting Tawaquaptewa’s carvings is an appreciation of the man who spent his productive years tricking white tourists into purchasing his work.  He, himself, must have enjoyed selling to the tourists.  He would give them tours through the village, then to his home where he had dolls for sale.

There is an excellent article on Tawaquaptewa published in American Indian Art Magazine that was written by Barry Walsh.  It covers in much more detail the interesting life of this Hopi and is well worth reading.  Reference to this article is listed below.

Condition:  structurally in good condition with some loss of paint and abrasions.

Reference: “Kikmongwi As Artist: The Katsina Dolls of Wilson Tawaquaptewa” by Barry Walsh, American Indian Art Magazine, winter 1998.

Provenance: from the extensive collection of a Santa Fe resident who has unfortunately moved to another city and found it necessary to greatly reduce her collection.