Hopi Pueblo Cylinder Jar attributed to Annie Healing Nampeyo

This Hopi Pueblo cylinder jar, attributed to Annie Healing Nampeyo, is a striking example of early 20th-century Hopi-Tewa pottery. Painted in black and white on a red clay body, the jar features four columns of eagle tail designs, a motif closely associated with her mother, Nampeyo of Hano. The composition is framed by double black lines near the rim, with a traditional spirit line break that reflects continuity in Hopi design traditions.

This piece is especially distinctive and strongly attributable to Annie due to the use of white pigment in the painted decoration. This uncommon feature, combined with the refined execution of designs originally developed by her mother, reflects Annie's known preference for black and white on red and her characteristically more delicate touch.

Cylindrical jars of this form have no historic precedent in Hopi use but are believed to have been inspired by ancient vessels from New Mexico pueblos, which were likely used for drinking chocolate. At Hopi, such jars may have been introduced at the request of trader Thomas V. Keam in the late 19th century as appealing items for the growing tourist market. This example stands out as both a collectible object of early tourism and a culturally resonant work of art by a key figure in the Nampeyo legacy.

Annie Healing Nampeyo (1884-1968), also known as Quinchawa, was the eldest daughter of Nampeyo of Hano and an important, though often overlooked, figure in Hopi-Tewa pottery. She worked closely with her mother for many years, and much of her pottery is nearly indistinguishable from Nampeyo's. According to biographer Barbara Kramer, Annie was Nampeyo's "silent but visible partner." Over time, scholars have identified her distinct style, which favored black and white on red and displayed a more delicate hand than her mother's.

Annie was among the first Hopi children sent to boarding school, where she was renamed from Quinchawa to Annie. Despite her time away, she remained rooted in Hopi traditions and returned to assist her mother full time after completing her education. Her first documented piece was attributed in 1912 by artist and anthropologist William Leigh. She continued to make pottery until the 1930s, when arthritis forced her to stop. Annie married Willie Healing (Ipwantiwa) at age 16 and had six children, including Rachel and Daisy, who both went on to become accomplished potters.

Condition: very good condition

Provenance: This Hopi Pueblo Cylinder Jar attributed to Annie Healing Nampeyo is from a client of Adobe Gallery.

Recommended Reading: Nampeyo, Hopi Potter: Her Artistry And Her Legacy by John Collins

TAGS: Nampeyo of Hano, Hopi Pueblo, pottery making, Rachel, Daisy, Barbara Kramer, Thomas Keam, Annie Healing Nampeyo - Quinchawa, Hopi-Tewa Potter