AFA Winter 2019

Winter 76 www.afamag.com | w ww.incollect.com Nampeyo (1884–1968), Nellie Douma Nampeyo (1896–1978), and Fannie Polacca Nampeyo (1900–1987)—to decorate and fire them. They, in turn, passed their skills to their children. Pueblo Dynasties includes numerous examples by the senior Nampeyo and her descendants, who are collectively renowned for their finely wrought polychrome designs founded in tradition and individually interpreted by each potter. The collection is especially strong in work by descendants of Annie Healing, who taught her daughter Rachel Namingha Nampeyo (1903–1985), who in turn shared her skills with Dextra Quotskuyva Nampeyo (1928–2019). Dextra, an important mentor to other potters and artists, is represented by a large and elaborate vessel ornamented with depictions of pottery sherds (Fig. 3). Dextra’s daughter, Hisi Quotskuyva Nampeyo (born 1964), is also a potter, and Dextra’s son, Dan Namingha (born 1950), is a painter and sculptor. Several of their first cousins are talented ceramists, two of the most significant being Steve Lucas (born 1955) and Les Namingha (born 1967), both of whom learned from Dextra. Other Hopi-Tewa potters include Paqua Naha, called Frog Woman (ca. 1890–1955), who near the end of her life developed a white-ware style that her daughter, Joy Navasie, second Frog Woman (1919–2012), popularized. Grace Chapella (1874–1980) learned her skills from her mother and, significantly, her neighbor, Nampeyo. As with Nampeyo, she derived motifs from historic sherds, and is most recognized for her butterfly or moth designs, which became inextricably identified with the Chapella family. Fig. 8: Dora Tse-Pe (San Ildefonso/ Zia, born 1939), Jar with Avanyu, 1992. Earthenware, 8½ x 9¼ (diam.) in. Crocker Art Museum; Gift of Loren G. Lipson, M.D. (2017.79).