Native American Hopi Poly Chrome Pottery Bowl, by Dollie Joe Navasie (White Swan), Ca 1980's, #1304
$ 450.00
Native American Hopi Poly Chrome Pottery Bowl, by Dollie Joe Navasie (White Swan), Ca 1980's, #1304
Description: Native American Hopi Poly Chrome Pottery Bowl, by Dollie Joe Navasie (White Swan), Ca 1980's, #1304
Dimensions: 6"w x 3"h
Condition: Excellent for age
Provenance: From the Estate of a long time collector in AZ who collected pieces 40-50 years ago.
Dollie Navasie is the daughter of the renowned Hopi potter Eunice "Fawn" Navasie. She is also sister to Dawn and "Little Fawn" Navasie, who now goes by "Fawn" since her mother's passing. Her Hopi name, by which she is widely known in the art world, is White Swann. Having grown up in the Antelope Mesa area of the Hopi reservation, near Keams Canyon, Dollie learned the art of pottery making at an early age. She watched her mother and was allowed to play in the clay, making her first crude pots as a toddler. As the niece of another well-known potter, Frogwoman, Dollie has the blood of many talented generations flowing through her veins. She shows at all the major venues throughout the Southwest and consistently does well. Some of her recent shows include Santa Fe Indian Market, Heard Museum Show 2003, and a "One Man" show at the Hopi Artisans Guild at Second Mesa. She was recently distinguished as the recipient of the SWAIA's prestigious fellowship award and has been featured in nearly every major publication dealing with Indian Art. (Source: Fine 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 clays 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)
Description: Native American Hopi Poly Chrome Pottery Bowl, by Dollie Joe Navasie (White Swan), Ca 1980's, #1304
Dimensions: 6"w x 3"h
Condition: Excellent for age
Provenance: From the Estate of a long time collector in AZ who collected pieces 40-50 years ago.
Dollie Navasie is the daughter of the renowned Hopi potter Eunice "Fawn" Navasie. She is also sister to Dawn and "Little Fawn" Navasie, who now goes by "Fawn" since her mother's passing. Her Hopi name, by which she is widely known in the art world, is White Swann. Having grown up in the Antelope Mesa area of the Hopi reservation, near Keams Canyon, Dollie learned the art of pottery making at an early age. She watched her mother and was allowed to play in the clay, making her first crude pots as a toddler. As the niece of another well-known potter, Frogwoman, Dollie has the blood of many talented generations flowing through her veins. She shows at all the major venues throughout the Southwest and consistently does well. Some of her recent shows include Santa Fe Indian Market, Heard Museum Show 2003, and a "One Man" show at the Hopi Artisans Guild at Second Mesa. She was recently distinguished as the recipient of the SWAIA's prestigious fellowship award and has been featured in nearly every major publication dealing with Indian Art. (Source: Fine 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 clays 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)
