INTRODUCTION

The clowns have been called the Delight Makers and indeed that is one of their purposes. They make the Hopi and the New Mexico pueblo people laugh, sometimes at mockery of themselves and other times at mockery of non-Indians. They are not Katsinas but do accompany the Katsinas during dances. Most New Mexico pueblos ask non-pueblo people to depart before the arrival of the clowns. They see it as a special occasion for them alone.

At Hopi, all the villages permit non-Indians to witness the antics of the clowns. When it appears that the clowns are acting up in a humorous manner, they actually are doing so with a purpose. It is their intent to teach the Hopi to maintain their cultural cohesion and preserve their status quo. In their antics, they are actually illustrating to the Hopi acts that are not acceptable, such as gluttony and deviant behavior. What the clowns act out is what it is to be non-Hopi. Sometimes this can be quite humorous. It is their responsibility to be the keeper of tradition.

The Hopi have four groups of clowns: the Tsukuwimkya, the Paiyakyamu or Koosa, the Koyemsi, and the Piptuyakyamu. The first and last are native to the Hopi and the other two have been borrowed from the New Mexico pueblos. The most famous is the Koosa, known as the Koshari, and referred to as the Hano Clown, after the name of the Tewa Village, Hano, at First Mesa, because that is where this clown first appeared with the arrival of the Tewa Indians in the early 18th century.

The dress of the Koshari is strictly enforced. The horns are of sheepskin stuffed with grass and the tips are tasseled with crinkled cornhusk strips. They are painted with charcoal and kaolin. The body is painted black with corn smut, but soot can also be used. Kaolin provides the white stripes. They wear old and worn moccasins, frazzled breechclouts, and worn blankets wrapped around their hips. A pouch of cornmeal hangs around their necks.

The Koshari appear only during the spring and summer dances and then only in the afternoon. Their official entrance to the plaza is always over the roof tops, to represent their coming over the clouds to the Hopi mesas. They pop up at the edge of a roof and announce their presence with a loud whoop and much ruckus. From then, they began their show.

Excerpted from Clowns of the Hopi: Tradition Keepers and Delight Makers by Barton Wright.

THE EXHIBIT (click here to view now)

The Hopi have katsinam that honor and depict other tribes that are their neighbors, among them, the Navajo (Diné). This male version of Tasavkatsinam (Tasaf, Tasap) is in honor of their near neighboring tribe, the Diné. Katsina of this style are not borrowed from other tribes but are in honor of the other tribes. They are Hopi Katsina in all respects and are accorded the same reverence and honor as any other katsina. Their function, as is the function of all Hopi katsina, is to serve the Hopi as messengers to the rain gods.

This carving by an unknown Hopi carver probably dates to circa 1950s.  He features an elegant arrangement of red hair made from fine red yarn.  The bandoleer across his chest is made from deer hide as is the concha belt and the ketoh on his left wrist. 

Condition:  He had cotton glued to the four white spots on his chest and back and the white spot on each of his arms but most of the cotton is missing.  He carries a gourd rattle in his right hand but whatever he might have had in his left hand is missing as are the feathers on the right side of the mask. There is a faint crack in the paint behind the right shoulder but it is not significant.

Provenance: from the estate of Michael Frost of Texas

Recommended Reading:  Kachinas: a Hopi Artist's Documentary by Barton Wright

Soyokomana Katsina is the Ogre Woman.  She appears during the Powamu ceremony, accompanied by the ogre, Nataska.  She approaches households begging for food to take back to the kivas for the Katsinas to eat.  If she is given too little or something not to her pleasure, she growls in disapproval.  She has a basket on her back in which she carries off the acceptable food.

The Nataska, usually in pairs, accompany the Soyokomana and stand behind her as she bargains with the children.  They make horrible noises to frighten the children and supposedly they are able to eat a child whole.  The Soyokomana accepts food in lieu of hauling off children who have not lived up to the Hopi ways.  By doing this, the mother, who has bargained with her to accept food, rather than her children, comes out to be the best and the winner.

Henry Fred has illustrated the Soyokomana in her traditional manner, carrying a knife to scare the children and a staff to grab them by the neck, which, of course she does not do but only threatens to do.

Condition: the carving was purchased from the Heard Museum in Phoenix, AZ in 1990 and is presumed to have been recently made.  It is in original condition.

Provenance: from the estate of Michael Frost of Texas

Recommended Reading:  Hopi Katsina, 1,600 Artist Biographies by Gregory Schaaf

Subject: Hopi Soyokomana Katsina Doll
Artist / Carver: Henry Fred (1951 - present)
Category: Contemporary
Origin: Hopi Pueblo
Medium: Cottonwood root, oil-based stains
Size: 12-1/2 inches tall
Item # C3360Q

The Mudhead has been named such because the mask and body of the participant is covered in reddish mud.  According to Barton Wright, this Hopi personage has been called Koyemsi but that term is from the Zuni Pueblo and means "husband" as in animal husbandry, one who cares for a flock. He states that neither Mudhead nor Koyemsi is the correct name for this Hopi Katsina.  He states that the proper Hopi name is Tachukti, a term which means "ball on head."  It is not likely that the name Mudhead or Koyemsi will disappear because those are names generally known for this personage.

Because of the looks of the head covering, with its numerous knots, the Mudhead is generally considered to be a clown; however, it is not the case.  He serves a multitude of purposes.  Even though he is amusing and performs hilarious antics, he is far more than a clown.  He may be a curer, a magician, a dance director, a warrior, a messenger, a sage or, even a fool.

In this carving, Silas Roy has presented the Mudhead Katsina as a drummer.  It is an earlier carving from 1976, a time when acrylic paints were still the vogue and before many carvers progressed to one-piece carvings and the use of oil based stains in lieu of paint.  The carving is quite exceptional for the period.

Condition: appear to be in original condition with the loss of some feathers on the head.

Provenance: originally purchased in 1976 from the Museum of Northern Arizona in 1976, currently from the estate of Michael Frost of Texas.

Recommended Reading: Clowns of the Hopi: Tradition Keepers and Delight Makers by Barton Wright

Subject: Hopi Pueblo Mudhead (Koyemsi) Katsina Doll
Artist / Carver: Silas Roy, Sr. (1948-present)
Category: Contemporary
Origin: Hopi Pueblo
Medium: Cottonwood root, acrylic paints
Size: 16-3/4 inches tall
Item # C3360V

Casas Grandes pottery was first produced about 1000 years ago in an area of Northern Mexico called Paquimé. At first the pots were strictly utilitarian vessels. Eventually, their style, shape and quality transformed through trade with the Hohokam and Anasazi.

The shape of this small jar is very traditional to Casas Grandes utilitarian wares. The bottom is round and the body is globular with a constricted neck and flaring rim.  Two handles connect the rim with the shoulder of the jar. 

The jar was formed from coils of clay which were pinched together and then smoothed out with a gourd or other scraping tool.  The clay was stone polished without the addition of slip. 

Condition: structurally very good condition with some minor rim chips.

Provenance: from the collection of Katherine H. Rust

Recommended Reading:  Secrets of Casas Grandes, edited by Melissa S. Powell

Subject: Casas Grandes Utilitarian Two-handle Jar
Potter Unknown
Category: Pre-Columbian or Prehistoric
Origin: Mexico
Medium: clay
Size: 5-1/2" tall x 6-3/4" wide
Item # C3309M

Carmelita Dunlap was the daughter of Juanita Vigil and Romando Vigil. Carmelita’s mother passed away when Carmelita was only 8 years old. Her mother’s sisters, Maria Martinez and Desideria, raised her. Carmelita would stay with Maria for three months or so then stay with Desideria three months or so. She learned pottery making from watching the two distinguished potters at work.

Carmelita was one of the pueblo potters invited to visit the White House in 1974 at the request of President and Mrs. Nixon.

Carmelita always preferred making large pieces of pottery. This one, however, is the largest I have ever seen. She decorated it in the traditional black-on-black technique but added an element to the design that I have never known a San Ildefonso potter to do—that is impressing bear paws into the clay as is done at Santa Clara Pueblo. I think this is truly a unique pottery jar by a unique potter.

COMMENTS: Some experts have contended that smothering pottery during the firing process creates a carbon smoke that penetrates the pottery, turning it black. Even though several books describing black pueblo pottery attribute the color change to carbon, the reduction of iron oxide is the correct mechanism. Ceramicists, describing ancient styles of Old World pottery, state that iron impurities in clay form red oxide at red heat, but if air is lacking during firing, iron impurities in clay form black magnetite.

Provenance:This Large Black-on-black Bear Paw Jar was part of the exhibit Art Treasures of New Mexico show July 23, 2005 until August 20, 2005 presented at adobe gallery Santa fe.

Subject: Large Black-on-Black Bear Paw Jar
Artist / Potter: Carmelita Dunlap (1925-1999)
Category: Contemporary
Origin: San Ildefonso Pueblo
Medium: Native Materials
Size: 17-1/2" tall x 13" diameter
Item # 24385

Virgie Garcia is believed to be a contemporary active potter although I can find no definite evidence of that.  She is listed in Dillingham as an active potter in 1991 and Schaaf acknowledges her in his book in 2002.  She credits her grandmother, Lolita Garcia, with teaching her the techniques of pottery production. 

This large storage jar is certainly testimony to her talents as a potter and painter of pottery.  This is an extremely large jar for one to even consider painting with intricate fine-line designs.  The entire surface is covered in fine-line technique.  There are 10 horizontal bands of fine-line design.  Every alternating band changes design.  The individual design elements expand in size as the dimension of the jar expands.

This is an exception visual presentation and a masterful application of a favored Acoma design.

Condition:  original condition with very minor spalling that is almost non-existent.

Provenance: from a gentleman in Albuquerque

Recommended Reading:  Southern Pueblo Pottery 2,000 Artist Biographies by Gregory Schaaf

Subject: Very Large Acoma Pueblo Fine-line Storage Jar
Artist / Potter: Virgie Garcia (1947-present)
Category: Contemporary
Origin: Acoma Pueblo
Medium: native clay, pigment
Size: 15-1/2" tall x 15-1/4" diameter
Item # C3302B

This storage jar was formed of native clay with typical crystalline rock temper. The underbody was not slipped but the natural tan clay of the vessel was stone-polished to a hard finish and the Kewa Pueblo distinctive large red band of rough polish, striated, soapy-like appearance was added below the design band.  This is indicative of a post-1880 date.

The bottom of the vessel is flat as is traditional with storage jars, unlike water jars that have a concave underbody.   The neck interior was slipped first in bentonite slip then red slip was rag-wiped over the bentonite leaving a quarter-inch of bentonite visible.  The rim top is black (a post-1800 characteristic). There is significant evidence of use. The rag-wiped bentonite slip is a wonderfully warm cream/off-white color, with subtle fire clouding and superb patina.

The entire body was designated for the design panel without a division separating the neck area from the body.  The large floral vegetal black design is typically Kewa Pueblo in origin with certain boldness and seemingly deliberate execution—a sure mark and fantastic sense of space and design. A series of semicircular elements, suggestive of clouds, are suspended from one of the two framing lines around the neck.  A second pair of framing lines encircles the vessel body at the base of the design.  All four framing lines feature ceremonial breaks.

This is a fantastic example of a Kewa Pueblo Polychrome jar with excellent patina, a warm/subtle glow to the white slip, and beautifully executed vegetal-black design elements.

Condition: There were several insignificant line cracks which have been repaired and an area of exfoliation due to water overflow that has been left in the natural state with no attempt to over-paint. This is a true find for the collector of the finest quality historic pueblo pottery from circa 1890-1910.

Provenance: from the collection of a Phoenix ranching family.

Recommended Reading: A River Apart: The Pottery of Cochiti and Santo Domingo Pueblos by Valerie K Verzuh

This is one of the most beautifully decorated Rain God figurines of the period.  The rust red and black designs on the cheeks, the elaborate necklace and the designs on the pottery are all exquisitely executed.   The darkness of the figurine contrasts beautifully with the brightness of the painted designs. 

This figurine is typical of the style made in the early 1900s.  The figurine was covered in cream slip over which the elaborate design was painted in black and red vegetal and mineral paints.  The figurine has sculpted hair painted black and holds a decorated jar on his lap.  The painted designs are typical of the early 1900s figurines.  This is one of the more elaborately painted rain gods which makes one suspect it is one of the earlier ones before demand increased so significantly that potters began producing faster and decorating less.

This figurine and our Item #25621 certainly were made at the same time and by the same potter.  Here is a link to the other Rain God:

Tesuque Pueblo Polychrome Rain God Figurine (click here to view it now)

What a great pair they make sitting side-by-side!

Item # 25621

Item # 25622

Condition: one foot is missing and there is an abrasion on the right shoulder.

Provenance: from a gentleman in Taos, NM whose grandfather owned a curio store near the plaza.

Reference and Recommended Reading: The Native American Curio Trade in New Mexico by Jonathan Batkin

Subject: Tesuque Pueblo Turn of the Century Rain God Clay Figurine
Potter Unknown
Category: Figurines
Origin: Tesuque Pueblo
Medium: clay, pigment
Size: 6-3/4" tall
Item # 25622

Navajo silver spoons were hand forged from Mexican silver coins or American silver coins. Mexican coins were favored because the silver content was higher than comparable American coins. The coins were hammered into thin sheets and then shaped into the desired form for a spoon.  Once the hammering and forging were complete, the spoon was then stamped with the desired designs.

This spoon appears to be from coin silver as it is heavier and thicker than most. 

Condition: it appears that a crack in the bowl was repaired.

Provenance:  private collection of a Virginia family

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Coin Silver Navajo Spoon with Stamped Handle
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: coin silver
Size: 4-1/2" long
Item # C3393F

Navajo silver spoons were hand forged from Mexican silver coins or American silver coins. Mexican coins were favored because the silver content was higher than comparable American coins. The coins were hammered into thin sheets and then shaped into the desired form for a spoon.  Once the hammering and forging were complete, the spoon was then stamped with the desired designs.

This spoon has a long and graceful handle, extremely thin at the bowl and gradually widening at the other end on which a series of stamps were used to decorate it to the maker's delight.

Condition: original condition

Provenance:  Rainbow Man, Santa Fe

                     private collection of a Virginia family

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Silver Navajo Spoon with Stamped Handle
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: silver
Size: 6-1/8" long
Item # C3393E

Indian traders were significant influences on Native artists in determining what the artists were to make.  It was the traders who knew what they could sell so they instructed the artists to make those items.  In addition to traders, government-sponsored Indian schools were an influence as well. 

Carlisle Indian School in Carlisle, Pennsylvania, founded in 1879, was the first federally run Indian boarding school.  One of its functions was to teach the students a trade, and one of the trades was silversmithing.  A 1910 brochure from Carlisle promoted "Navajo silver items produced at the school, hand-hammered out of Mexican silver dollars."

This silver spoon features a double-headed bird at the handle's end and a deer's head in the bowl.  The hand file marks are quite visible on the back of the handle.  This spoon dates to circa 1910-1915.

Condition: original condition

Provenance:  Alan Kessler Gallery, Santa Fe

                     private collection of a Virginia family

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Silver Navajo Spoon with Double Headed Bird on Handle
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: sterling silver
Size: 4-1/8" long
Item # C3393D

This elaborately decorated silver spoon features a feather-pattern handle and a stamped bowl of elaborate symbols.  It dates to circa 1900.  Spoons such as this appeared in pamphlets and catalogs of Navajo traders as early as 1902 and possibly earlier.  Traders such as Lorenzo Hubbell, C. N. Cotton, and J. B. Moore featured them.  Moore advertised them at $1.50 per oz.

The fascination with Navajo-made silver spoons waned around 1915.  Navajo smiths switched from making souvenir spoons to making, on special order, complete table service silver.

This spoon comes with a specially-made display stand that permits the spoon to be displayed in a frontal view. 

Condition: original condition

Provenance:  Medicine Man Gallery, Santa Fe

                     private Virginia family collection

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Silver Navajo Spoon with Feather-design Handle
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: silver
Size: 6-1/8" long
Item # C3393C

Navajo-made silver spoons with an Indian head profile at the end of the handle first appeared in Indian trader J. L. Hubbell's 1902 pamphlet.  Hubbell assured his clients that these were made by Navajo silversmiths and were made from coin silver.

This spoon features an Indian head with feather bonnet in profile at the end of the handle and two arrows stamped in the bowl.  Spoons were priced by weight of silver and not by their aesthetics.  Spoons such as these were highly sought by tourists traveling on the trains to the southwest.  They were attractive items, easily transported and easily displayed when back at home.

This spoon comes with a metal display stand fabricated specifically for this item.

Condition:  there is a small crack on one edge of the bowl and the handle may have been repaired near the area of the bowl of this spoon.

Provenance:  Coulter Brooks Gallery, Santa Fe

                      private collection of a Virginia family

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Nineteenth Century Coin Silver Pictorial Navajo Spoon
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: coin silver
Size: 4-5/8" long
Item # C3393B

The earliest dated silver spoon known to have been made by a Navajo was in 1885 and that was documented by Charles Lummis in his voluminous notes on file in the Southwest Museum.  Spoons were a favored object of tourists travelling on the AT&SF Railroad that reached Santa Fe (actually, Lamy) New Mexico in 1879. 

Potters, at that time, were making large pottery vessels because that was what they were used to making for their own use and expected the train tourists to need the same size for use at home.  It was not readily understood that the tourists were seeking souvenirs, not functional items.  That is where the highly decorated silver spoons developed.  They were perfect items for tourists to drop in a carry-on purse or bag and take back home as a reminder of where they had ventured on vacation.  They were the perfect souvenir. 

This spoon features a twisted handle, with a flat section at the end of the handle and a stamped bowl at the other end.  According to Cindra Kline inNavajo Spoons "Twisted handles were so popular in commercial spoon designs of the 1880s and 1890s that they were one of the features of the Robbins Company's 1904 commercial 'Navajo Spoons" [catalog] and were offered in Indian trader catalogs as late as 1906.  Trader J. B. Moore promoted twisted handles as providing 'extra strength.'  In addition, the end result was quite pretty."

Condition: original condition

Provenance:  ex Kim Lowndes collection

                      Alan Kessler Gallery, Santa Fe

                      private collection of a Virginia family

Recommended Reading; Navajo Spoons: Indian Artistry and the Souvenir Trade, 1880s - 1940s by Cindra Kline

Subject: Nineteenth Century Silver Navajo Spoon
Unknown Maker
Category: Silverware
Origin: Diné - Navajo Nation
Medium: silver
Size: 3-7/8" long
Item # C3393A

This male and female pottery figurine couple was obviously made as a pair and has been together since probably the mid-1970s when they were likely made.  Neither of the figurines is signed with the name of the maker but they were shown to Cochiti Pueblo potter Virgil Ortiz who said he believes they were made by Aurelia Suina.

Each of the figurines is dressed in traditional pueblo clothing.  The female is wearing the traditional pueblo dress that is over one shoulder and under the other.  It is cinched at the waist with a woven sash.  She is wearing traditional brown moccasins, a necklace and bracelets on both arms.  He is wearing a button-up shirt, also cinched at the waist with a woven belt.  He has on traditional moccasins, a red headband and jewelry on both wrists and a nugget necklace with jaclas.

Condition:  It is our speculation that these date to the 1970s and both figurines are in excellent structural condition with no evidence of repair of any kind.  There are a few scratches here and there but nothing of great significance.

Provenance: from a client in Scottsdale, AZ

Recommended Reading:  Clay People: Pueblo Indian Figurative Traditions by Jonathan Batkin

Subject: Cochiti Pueblo Male and Female Pottery Figurines
Artist / Potter: Aurelia Suina (1911 -?)
Category: Figurines
Origin: Cochiti Pueblo
Medium: clay, pigment
Size: 9-1/2" tall
Item # C3392

We have been told that there is no word for "art" in the native languages of New Mexico and that what we perceive as art is part of the daily life and experience in a native household. Everything in their world has a connection to their religion and to their daily lives without there being a separation between the two. Beautification is accomplished in appreciation to Mother Earth for yielding up the clay and paint sources for the potter to use in making a vessel. Native potters, in their daily lives, produce objects of beauty that we, as collectors, consider to be art. We are fortunate to live in a state where there are so many talented potters whom we call artists.

This jar, which we believe was made at Laguna Pueblo at or just before 1940, is a marvelous example of a jar in which a potter expressed her own interest. The boldness of the design with the NASCAR-type flags certainly is unusual for a pueblo design but obviously meant something to the potter. The other designs that look somewhat like boomerangs also are quite unique. Perhaps they represent a combination of corn and rain clouds, but that is only speculation.

The jar is not too large but is very interesting in presentation. The boldness of the design overcomes the smaller jar size, a feat of which the potter was probably well aware. This is a jar that requires and demands attention. One cannot pass it by without stopping for a look.

Condition: structurally in excellent condition but does have some abrasion to the design but it is not significant.
Provenance: from the estate of Reggie Sawyer, the Hanging Tree Gallery, Albuquerque
Recommended Reading: Acoma and Laguna Pottery by Rick Dillingham

Subject: Late Historic Laguna Pueblo Polychrome Olla
Potter Unknown
Category: Historic
Origin: Laguna Pueblo
Medium: clay, pigment
Size: 6-7/8" tall x 10-1/2" diameter
Item # C3385D

Quincy Tahoma displayed a wide variety of styles in his paintings. He had a "quiet" period, a "peaceful" period and a "violent period." His quiet and peaceful periods were early and late in his career, with his violent period predominating for most of his art life.

Tahoma painted the proud Diné in everyday life on the reservation where he had grown up to the time of leaving for the Santa Fe Indian School at about age 12 or 13. When World War II broke out, he attempted to join the military service to serve with his many Native American friends who had joined, but a childhood accident which left his left arm deformed prevented his acceptance. He spent the war years in Santa Fe.

Painting buffalo hunts was a favorite Tahoma theme or perhaps it was a favorite of his clients because he made several such scenes although each was different. In this one, the bison is attacking the horse in an attempt to dismount the rider. It does not appear that the Indian has scored a hit on the bison with an arrow. There are several dozen bison in the far distance. The rider has singled out one from the herd.

Tahoma has provided a beautiful dramatic cloud in center background. It is obliterating the sun from view and the cloud appears so powerful and, yet, beautiful. The artist's choice of colors for the cloud is an indication of true artistic talent.

Condition: appears to be in original condition
Provenance: from a lady in Santa Fe
Recommended Reading: Quincy Tahoma the Life and Legacy of a Navajo Artist by Charnell Havens and Vera Marie Badertscher

Subject: Diné (Navajo) Painting of a Buffalo Hunt
Artist: Quincy Tahoma 1917-1956 Water Edge
Category: Paintings
Origin: Diné - Navajo Nation
Medium: gouache
Size: 12-1/2" x 20-3/4" image; 20-1/2" x 28-5/8" framed
Item # C3258

When Adobe Gallery had its Santa Fe gallery grand opening in May 2001, the opening exhibit was the private collection of Hopi pottery by the Nampeyo family that had been accumulated by Barbara Kramer during her years of research in preparation for writing the book Nampeyo and Her Pottery, published in 1996. Her collection had grown to 33 pottery pieces by various members of the Nampeyo family. The entire collection was exhibited during that exhibit.

It is now our pleasure to be able to re-post this one jar from that collection. It is a large jar made by Fannie Nampeyo in the mid-1960s and it is designed with the Hopi migration pattern, a pattern incorporating many parallel straight lines that must have been a nightmare for the potter to paint.

Fannie Nampeyo was the youngest daughter of Nampeyo of Hano and, as a result, is the daughter most recognized by collectors from the 20th century. Annie had passed away in 1968 and Nellie in 1978. Fannie lived until 1987. Of course, she was not making jars as large as this one during that last decade of her life but she was an active potter and she was very welcoming to visitors to her home, so many collectors knew her personally. I visited her frequently during that decade and am glad to have known her. She was the first one to demonstrate putting Vaseline on her fired pottery and then polishing it with old nylon hose. That is the reason that the paint on her pottery does not smear or rub off easily.

This jar is an excellent example of her mid-20th century style when she was able to make larger vessels and was very competent in designing and painting them. It is now a half-century old and still as beautiful as the day it was fired.

Condition: very good condition
Provenance: Purchased from a private collection by Dewey-Kofron Gallery, Santa Fe, which in turn sold it to Jim and Barbara Kramer in 1977. Exhibited in "Nampeyo of Hano and Her Daughters," at Adobe Gallery, Santa Fe, May 11 through 31, 2001.
Recommended Reading: Nampeyo and Her Pottery by Barbara Kramer

Subject: Hopi Migration Pattern Jar by Fannie
Artist / Potter: Fannie Polacca Nampeyo 1900-1987
Category: Contemporary
Origin: Hopi Pueblo
Medium: Native Clay, Slip & Vegetal Paint
Size: 7" high x 11" diameter
Item # C3388

Logan Maxwell Hagege is a talented artist who excels in depicting the figure and landscapes. Serious study in art started for Logan when early interest in animation sent him to a local art school, Associates in Art. His interest quickly moved from animation to fine art while attending life drawing classes, and later the Academy's Advanced Master's Program, which was modeled after the old-time French Art Schools where students spent more than six hours per day studying from live models.

This artist has drawn inspiration for his subjects from his native Southern California as well as by traveling extensively to view various landscapes in the American Southwest and the Northeast Coast of the U.S.

Logan finds encouragement and guidance in masters of the past such as Gustav Klimt, N.C. Wyeth, T.W. Dewing and Maynard Dixon. One idea that drives Logan's work is that evolution in art is never ending. He is constantly challenging himself with new ideas and new ways of looking at the same subject.

In this small oil painting, Logan was laying plans for an anticipated larger painting. This one, entitled "Dancing Cloud" was a study effort. It is oil on linen, completed in 2010, signed in upper right and framed in a gold wood frame.

Condition: original condition
Provenance: from a private Santa Fe collector
Reference: Biographical information obtained from the artist's website.

Subject: Oil Painting "Dancing Cloud" Study by Logan Hagege
Artist: Logan Maxwell Hagege
Category: Paintings
Origin: European-American Artists
Medium: Oil on linen
Size: 12" x 9" image; 15-3/4" x 12-5/8" framed
Item # 25475