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Russell Sanchez Russell Sanchez

Russell Sanchez (b. 1963) continues to be one of the master innovators in Pueblo pottery. Each piece he creates is perfectly hand-coiled, stone polished, then etched, inlaid, designed, and fired with utilizing traditional Native American pottery methods. Russell learned to make pottery from his great-aunt, noted potter and pottery matriarch Rose Gonzales (1900-1989.) He started making pottery at the early age of 12 years old on the San Ildefonso Pueblo. Russell has received numerous awards and recognition for his pottery throughout his career. Including such distinctions as 'Best of Division' at both the Santa Fe Indian Market and the Heard Indian Market. In 2007 Russell's art was presented in the feature article of the Fall issue of Native People's Magazine. In 2011, Russell was awarded the exclusive 'Tony Da Award' for Pottery in Santa Fe. Most recently, Russell was a recipient of the 'New Mexico Governor's Award for Excellence in Art 2017.'

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Sanchez, Russell  – Four-Color Double Lobe Jar with Waterfall Rim

This is an exceptional revival of a historic shape by Russell Sanchez.  The shape of the jar is a “double lobe”.  It is technically difficult to make as the coiling has to round in and out to create each of the “bowls” which seem to be sitting on each other.  Historically, these are inspired by cooking vessels which were set on top of each other.  The bottom section of this jar has angular carved eagle feathers swirling around the piece. They are polished black and the area at the very base is polished a light red.  Above the feathers is a checkerboard band representing corn alternating polished deep red and matte.  The center band, which Russell said was very difficult to polish, is light red coloration. The top “lobe” or bowl of the jar is polished a very deep red.  There are three designs which he has etched to encircle the jar. They range from a koshari to Early San Ildefonso inspired sun and rain designs.  Above and below the center band are checkerboard snow patterns in both black and light red.  Finally, the neck is polished black and the rim is a deep red. The inside of the rim has been carved with melon style ribs creating Russell’s distinctive “waterfall rim”.  There are so many technical aspects to the creation of this jar, from numerous clays to the form itself.  However, the final result is visually striking and very unusual.  The jar is signed on the base in the clay.  Once again Russell harkens to historic San Idlefonso designs and stories and uses them for his own contemporary work.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 7,800.00
Sanchez, Russell  – Red Bear Lid Bowl with Bear Medallion

This lidded bowl by Russell Sanchez is from around 2000.  It is fully polished and has a bear lid. Note how the bear has its head just a bit turned!  The bowl is fully polished and has a central medallion.  The medallion has an etched bear and the bear has a heartline and a bear paw as additional designs.  The bear medallion is polished a darker brown coloration.  It is surrounded by a band of micaceous clay.  There are two inset bands of hei-shi beads, one is a brown shell and one of white shell.  The bowl and the lid are both signed in the clay, “Russell Sanchez”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,500.00
Sanchez, Russell  – Polychrome Mountain Lion Lidded Box

The box itself has a mountain lion on each side.  Each one is different as one is red and the other tan. Below them is a corn design in checkerboard.  Note the use of both the light and dark red clay slips on the piece!  Each mountain lion has an inset piece of Lone Mountain Turquoise.  There are two bands of hematite beads below the animal.  The lid has a very sculptural mountain lion which is fully polished.  Russell textured the area below the mountain lion so that it has a greater sense of movement.  Again on the lid, there are two bands of hematite hei-shi beads set into the clay.  The box has both a striking historic appearance and a contemporary feel.   Dark red, light red, black, and tan all work together to create a true polychrome work and a revival of historic style for which Russell has been working for the past several years.   The box was traditionally fired and the result is a striking coloration, especially for the red. The box is signed on the bottom, as is the lid.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 7,400.00
Sanchez, Russell  – Black & Green Asymmetric Jar

This asymmetric jar Russell Sanchez is from around 2001.  It is one of his classic asymmetric forms with a sharp edge and an indented side.  The entire piece is fully polished black. The top half has been “two-toned” black and green.  There is a band of silver leaf which extends around the jar.  It is surrounded by two bands of shell and turquoise hei-shi beads.  The bottom half of the bowl has a series of stylized San Ildefonso flower and leaf designs.  This was a period when Russell was experimenting with these types of designs and giving them a more contemporary flare.  The jar is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,600.00
Sanchez, Russell  – Wide Jar with Old Style Birds and Waterfall Lid

This is a distinctive shape jar by Russell Sanchez.  The jar is wide and with a very flat top. The jar is fully polished and the shoulder of the jar is designed with a checkerboard snow pattern using a mica clay slip.  The top is fully stone polished and designed with stylized bird patterns. The birds on this jar certainly have a similarity to those found on Sikyatki pottery, but they are also found on older San Ildefonso pottery as well!  The two birds are different and designed with additional patterns for their bodies.  The tails of the birds are inset with hematite stones while the center of the bodies have a high-grade Kingman turquoise. As old as the designs are, Russell has presented them in a manner that seems very modern!  The lid is highly carved and has “waterfall” ribbed shape with a single piece of turquoise on the top of the lid.  The base of the lid is polished with the ribs are slipped with mica.  The jar is fired a deep black and the mica squares are very metallic in appearance. There are four inset bands of hei-shi beads around the jar.  The bottom of the bowl has the classic indention of traditional San Ildefonso water jars.  Russell uses these historic elements to keep them alive on his contemporary pottery.  It is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 9,200.00
Sanchez, Russell  – Large Checkerboard Bowl with Bear Lid

This is an exceptionally designed bowl by Russell Sanchez.  His recent work is a modern take on historic San Ildefonso pottery.  The sound shape of the bowl is perfect for both the etched designs and the bear lid, with a graceful flow of form. The lower half of the bowl is fully polished with a black micaceous clay slip and then etched with a sun design.  The sun design in one that was a pattern often seen in the work of Tonita Royal. Note how the design is further highlighted with a matte red clay slip, which is applied before the bowl was fired!  However, it is the space from the shoulder to the neck which is the visually dynamic part of this bowl. Russell has etched a series of squares which alternate from a deep polished to matte.  The square spiral in towards the mouth of the bowl and each row is separated by a band of shell hei-shi beads.  The checkerboard pattern is a cornrow design, with the small dots representing the corn kernels.  The bear lid is also polished black and the small dots on the edge of the lid are a visual repetition of the dots on in the design on the bowl.  The shape of the bear is very sculptural and the elongated head seems to perfectly match the wide shape of the jar.  Of course, the final touch is the inside of the bear is slipped red!  Wow!  A lot going on in one piece, that seems simple but there is a dynamic complexity inherent in the piece.  The piece was traditionally fired outside and it is signed on the bottom in the clay.  Simply perfect!

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 8,900.00
Sanchez, Russell  – Waterfall Rim, Gourd Base, Bear Paw Water Jar

This is a classic form of water jar by Russell Sanchez.  The shape is a very traditional form with a wide round shoulder and straight rim.  The edge of the rim is flat, but the inside of the neck is carved and polished with 16 melon ribs creating the “waterfall” effect!  The neck of the jar has four bear paws and the shoulder has a micaceous clay slip which, when fired, is a mettalic coloration.  Above and below the mica band are jet hei-shi beads.  The base of the jar is carved or indented with a “gourd” design. The way the light hits is perfect creating a sort of “shimmer” when the piece is turned!  The entire surface is stone polished and it is always amazing that when Russell polishes the inside of the neck, the jar doesn’t crack.  It is fascinating how Russell has gone back to revive old style and create their modern versions.  Russell continues to creatively revive historic San Ildefonso designs with his innovative style of pottery.  The bottom of the jar has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery.  It is signed on the bottom in the clay, ‘Russell”.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 2,600.00
Sanchez, Russell  – Carved Swirl Neck Jar with Bird Tail Design

This is a complex long neck jar by Russell Sanchez.  The shape of the jar is inspired by the work of his great-aunt, Rose Gonzales. The long, straight neck is one which she made famous and which Russell has modified in his current work. Here the neck has 16 carve swirling ribs.  The rim of the jar is polished, as is the interior of the neck.  The body of the jar is an exceptional shape which comes up from the base and then extends nearly flat to the neck!  That is always a difficult transition in coil-built pottery. The body of the jar is fully polished and it is etched with three stylized bird tail designs.  The style of the design is reminiscent of the work of early San Ildefonso innovators such as Tonita Roybal, Rosalie Aguilar, and Juan Cruz.  The transition to the long neck has a single band of mica and there are two bands of hematite hei-shi beads along with inset smaller round beads.  So, why hematite?  Russell has begun to use it on his recent pieces for several reasons. There is a traditional aspect in that women wear hematite bracelets when they do certain traditional dances at the Pueblo.  There is also hematite content in the clay slips use on the pottery.  Russell also notes that when he is able to fire his pieces to a gunmetal appearance, the hematite captures the shine and also gives them a contemporary appearance.  As Russell has said:

“I’m a traditionalist all the way through.  Innovation is part of our tradition. You use the same materials and tools that you have, and the same design elements, and the Clay Mother will come through you for what she wants you to do,” he explains. “Instead of doing the same cloud pattern or serpent pattern, you take that and make it your own. So, in fact, everything I’m doing is old, but new.”  Russell Sanchez, Southwest Art Magazine

The jar is highly fired with a near gunmetal appearance to the surface.  The contrasts of polished, mica and polished mica give the jar a dynamic appearance.  It is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 9,800.00
Sanchez, Russell  – Red and Black Double Sided Mountain Lion and Bear Canteen

It is not often that Russell Sanchez makes a canteen.  They are a traditional form which Russell creates as fine art in clay. This piece has a medallion on each side.  One medallion has an incised mountain lion and the other a bear.  What is difficult to see in the photos is that each of the animals is etched with a hatchwork pattern and then painted with a red and black clay slip.  Russell said that this was how fetishes were often painted at the Pueblo. The result is that each animal has a visual coloration but also a wonderful textural feel. There is also a single inset piece of turquoise in the center of each animal.   The area surrounding them is polished black and then a band of copper-colored mica.  In the micaceous band there are 40 inset pieces of jet on each side!  There are also two bands of jet hei-shi beads.  This traditional stone accents the traditional designs on this piece.  The remainder of the canteen is polished a deep red. The deep red color is a revival by Russell as it is the same red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  The shape is powerful with a slight curve to the neck and note the rounded bottom of the canteen.  It has 16 melon ribs carved into the piece!  So where is it signed? Russell signed it inside the mouth of the canteen!  The canteen has a metal museum mount which stands it securely upright but also allows you to see both sides. Once again Russell harkens to historic San Idlefonso designs and stories and uses them for his own contemporary work.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,200.00
Sanchez, Russell  – Large Gunmetal Bear with Hemetite, Heartline & Avanyu

This is one of the largest bears we have had from Russell Sanchez.  He continues to use traditional techniques and materials to create his stunning works in clay.  This bear is highly polished and fired to a striking gunmetal coloration.  The bear has a wide body and a sculptural form.  From the mouth of the bear is a heartline, which is a traditional image used to symbolize the heart as the center of power in the animal.  In addition, the bear is a symbol of strength.  On this piece, the heartline extends backward and rises up on the back and turns into an old style avanyu (water serpent).  The style of the avanyu and the fine-line etching are inspired by the painted designs of Tonita Roybal in the 1920s.  The back half of the bear continues the heartline and has two additional avanyu.  Across the back of the bear are eight bands of square hematite hei-shi beads.  So, why hematite?  Russell has begun to use it on his recent pieces for several reasons. There is a traditional aspect in that women wear hematite bracelets when they do certain traditional dances at the Pueblo.  There is also hematite content in the clay slips use on the pottery.  Russell also notes that when he is able to fire his pieces to a gunmetal appearance, the hematite captures the shine and also gives them a contemporary appearance.  As Russell has said

“I’m a traditionalist all the way through.  Innovation is part of our tradition. You use the same materials and tools that you have, and the same design elements, and the Clay Mother will come through you for what she wants you to do,” he explains. “Instead of doing the same cloud pattern or serpent pattern, you take that and make it your own. So, in fact, everything I’m doing is old, but new.”  Russell Sanchez, Southwest Art Magazine

This bear is a stunning example of how the history and culture of San Ildefonso Pueblo is modernized in concept in his hands.  The bear is signed on the bottom in the clay.  Simply stunning!

$ 9,000.00
Sanchez, Russell  – Red & Black Bear with Checkerboard and Sun Design

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is one of his classic shapes.  This bear is polished with a deep red clay slip.  The front has a sun pattern with a black mica clay line design in the center. The sun pattern is one that is inspired by the early pottery of Tonita Roybal.  The black of the bear has a black matte section along with a traditional San Ildefonso rain design.  The bear has a heartline which is etched into the clay.  The heartline which extends out from the mouth of the bear. The bear is a symbol of strength and the heartline is a traditional image used to symbolize the heart as the center of power in the animal.  The eyes are turquoise.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 3,800.00
Sanchez, Russell  – Waterfall Rim Open Bowl

This is a simple but very elegant open bowl by Russell Sanchez.  The shape of the bowl is a classic one for San Ildefonso for holding water.  The interior of the bowl is fully polished and the rim is carved with 36 melon ribs to create a “water fall” rim.  The symmetry of them give the bowl a unique appearance in terms of how the light reflects off the edge.  There is almost a silvery-gunmetal appearance to the rim which seems heightened by the deep black interior.  The exterior is a highly polished and slipped mica, which has a metallic appearance after the firing. While the bowl may seem simple in form, there is an inherent complexity to having it seem so strong with no design.  It is certianly always the challenge to an artist like Russel to restrain themselves and let the clay, form, polish and firing speak for itself.  That is the voice given to this bowl.  The bowl is signed on the bottom in the clay, “Russell”. Russell uses these historic elements to keep them alive on his contemporary pottery.  It is signed on the bottom in the clay, ‘Russell”.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 2,700.00
Sanchez, Russell  – Gunmetal Jar with Early San Ildefonso Birds & Lid

This is a complex lidded jar by Russell Sanchez.  The entire piece is fully polished and it has a wide shoulder and a short neck.  The base of the jar has 12 gourd indentions which are fully polished. The shoulder of the jar is exceptional in etched design with three San Ildefonso birds.  The bodies of the birds are etched into the clay and are inspired by the imagery of early San Ildefonso potters from the 1920’s.  Note the use of checkerboard, hatchwork lines and classic sun patterns to create the bodies and bird feathers!  It’s is almost like a “starter course” in the exploration of the use of this imagery by early artists such as Rosalie & Joe Aguilar, Susana Aguilar, Tonita Roybal and Juan Cruz.  There are two sections which are mica clay with small dots and they are surrounded by hematite hei-shi beads. The use of hematite is a traditional stone in San Ildefonso culture.  The lid is carved with an extended star pattern and on top is a single piece of turquoise.  It is almost the “surprise” of the jar.  The jar has a deep black to gunmetal metallic shine.  This is one of those pieces that is not only visually impressive, but there is a tactile aspect.  Where one might expect the mica to have texture, it is so highly burnished it is perfectly smooth!  The jar is signed on the bottom in the clay, ‘Russell”.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 7,200.00
Sanchez, Russell  – Avanyu Handle Jar with Lid

Russell Sanchez has found inspiration in the signed historic San Ildefonso pottery for both shapes and designs on his pottery.   This unique jar is inspired by a bowl by his great-great-grandmother, Ramona Sanchez Gonzales.  In the last photo, the red bowl by Ramona can be seen, with the avanyu in relief on the side.  As well, Tony Da made a jar with lizard handles in 1967-8, which is now in the Philbrook Museum (#7095).  The black and sienna of the jar and the etched medallions are certainly a reference for Russell’s latest piece.  This jar has sienna medallions on each side. They are etched with traditional San Ildefonso birds.  Each medallion is surrounded by two bands of hei-shi beads.  The handles are in the shape of the avanyu, much as on Ramona’s bowl.  The neck of the jar has a cloud pattern and the remainder of the piece is a micaceous clay slip.  The lid is fired to a near gunmetal appearance and has a sienna top and a single inset piece of turquoise.  The bottom of the jar has a “foot” which is reminiscent of historic San Ildefonso pottery and it is also indented. The hei-shi beads are all made by the Calabaza family from Santo Domingo Pueblo.  The jar seamlessly blends the old with the new and creates a new vision of how potters can derive inspiration from the past while creating their own new vessels.

$ 5,800.00
Sanchez, Russell  – Red and Black Jar with Carved Ribs and Lid

This is a Simple but elegant bowl by Russell Sanchez. He continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  The top of this bowl is carved with hard melon ribs. Each rib extends to the mouth of the piece with a narrow edge.  Each rib is stone polished black.  The lower sections of the bowl are polished a deep red.  Around the side is a checkerboard snow design in black and tan.  The deep red color is a revival by Russell as it is the same red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  Separating the various bands on the side of the jar is inset hematite hei-shi beads.  Note how small they are and the shine!  The lid is polished deep red with a single inset band of hei-shi beads.   The shape, creative design and highly polished surface are striking on this piece.  It is signed on the bottom in the clay.

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 5,400.00
Sanchez, Russell  – Black Water Jar with Avanyu & Gourd Ridge Lid

This is a stunning water jar by Russell Sanchez.  He continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched. The shape is a classic San Ildefonso form with the wide round shoulder.  Note how after the shoulder there is almost a flatness to the jar before the neck.  I took some of the photos straight on just to show how perfectly symmetrical the jar is in form!  This proportionality is technically difficult to achieve.  The jar is etched with a water serpent (avanyu) before it is fired.  The rim of the jar has 16 melon ribs carved into the clay.  The matchup with the 16 ribs which are deeply carved into the lid.  The ribs on the lid are slipped with a micaceous clay which when fired is almost metallic in color!  The top of the lid is fully polished to again compliment the polished surface of the jar.  The polishing on this jar is stunning that he is able to achieve such an amazing polish just using a stone!  Check out the neck and the base and the high shine is easily seen.  There are four bands of jet hei-shi beads which are inset into the jar around the neck and shoulder.  They separate bands of checkerboard mica and matt sections. The checkerboard use of the mica is subtle but stunning!  The jar is signed on the bottom in the clay. The last photos are some of the jar being fired (red before firing, in the fire, out of the fire but now black and surrounded by the manure and finally Russell holding the jar after it is fired).

Russell says of his work:

“I don’t let a pot go until I think it’s ready. I’ve had pots sitting there for months that I don’t think are ready, and then an idea will come, from anywhere, anytime, and it’s like, OK, that’s what this pot needs. That’s what they tell you at home [on the pueblo]: When the time is ready, it will happen. That’s when you finish up and let it go.”

$ 8,800.00
Sale!
King, Charles S., “Spoken Through Clay”

Spoken Through Clay

A NEW  RELEASE SPECIAL:  $95.00, including shipping (US)! Check out the new review in the Denver Post!

 Just a few things which make this book unique!
*   The size!  The book is 11.75″ x 14.25″ and weights over 8 pounds!
*  The photography of the pottery is stunning, emphasizing the individual pieces.
*  Each caption is the artist discussing the individual piece on the page.
*  The artist “biographies” are from interviews with the artists and they discuss their art, culture, lives and history.
*  Organization: The book is not organized by pueblo or family, but entails new ways to think about the future of Native pottery.
*  Printing in Italy gives the book very high quality color and paper.
* The photos of the living artists were taken by Will Wilson using a tin-type process. He was a recipient of the 2107 New Mexico Governor’s Award for the Arts in photography!
*  The book features work by more than 30 contemporary potters and more than a dozen important historic potters.
*  There are essays by myself, Peter Held and Eric Dobkin.  They add to the overall understanding of the project a historic perspective.

_____________________________________________

August 18, Pasatiempo Review

“Charles S. King’s new book, Spoken Through Clay: Native Pottery in the Southwest, The Eric S. Dobkin Collection, is spectacularly heavy —which is a problem from a practical standpoint, because once you open it, you won’t want to put it down. With dreamy tintype artist portraits by Diné photographer Will Wilson, dazzlingly crisp images from Addison Doty, and intimate first-person essays written by dozens of artists, the book is a visually delicious, intellectually consuming foray into historic and contemporary Southwestern pottery. In short, prepare to swoon.

If you’re thinking of this as a coffee-table book, you’ll need to imagine a decently sized coffee table. The book is more than a foot tall and, when opened, two feet wide, but its outsize appearance belies the often delicate beauty of its contents: hundreds of individual pieces of pottery from Eric S. Dobkin’s exquisitely curated collection — arguably the largest and most important of its kind. Gallery owner, author, and Pueblo pottery expert King designed Spoken Through Clay to be approachable for those unfamiliar with Native American pottery. “In the age of social media, I wanted to make the book both visually striking and personal,” King said. The book opens with essays by King, Dobkin, and curator Peter Held, who calls clay “the most archival of materials … seductive, sensuous, responsive, geologic, and malleable.”

“I wanted the end result of the book to be that the reader would connect with the artists in a personal way, beyond just the art, and understand the time it takes to become an artist, to achieve success,” King said. Sprawling yet intimate, Spoken Through Clay introduces its readers not just to the beauty of Southwestern pottery but also to the fascinating stories of the people who make it.Iris McLister, Pasatiempo

____________________________________

“It’s one of the things that makes us who we are. It’s what holds our family together. We are a family of potters. It’s our identity. People don’t realize how much work goes into it just processing the clay and making it. You have to do it with your heart.”—Linda Tafoya-Sanchez

 

FEATURED ARTISTS Grace Medicine Flower • Dextra Quotskuyva • Autumn Borts-Medlock • Jody Naranjo • Harrison Begay Jr. • Jordan Roller • Sara Fina Tafoya • Lonnie Vigil • Margaret Tafoya • Steve Lucas • LuAnn Tafoya • Loren Ami • Toni Roller • Popovi Da • Linda Tafoya-Sanchez • Mark Tahbo • James Ebelacker• Yvonne Lucas • Jeff Roller • Lisa Holt • Harlan Reano • Nampeyo • Jacquie Stevens • Nathan Youngblood • Jacob Koopee Jr. • Jennifer Moquino • Christopher Youngblood • Maria Martinez • Tony Da • Tammy Garcia • Virgil Ortiz • Joseph Lonewolf • Johnathan Naranjo • Nancy Youngblood • Les Namingha • Russell Sanchez • Christine McHorse • Richard Zane Smith • Rondina Huma • Susan Folwell • Dominique Toya • Jody Folwell

Spoken Through Clay features the pottery of iconic Native American artists from historic potters Nampeyo and Maria Martinez, to contemporary potters Tammy Garcia, Virgil Ortiz, and many others, are featured in a new book published by the Museum of New Mexico Press. Spoken Through Clay: Native Pottery of the Southwest showcases nearly three hundred pottery vessels from the acclaimed Eric S. Dobkin Collection, covering a wide range of mostly Pueblo artists from the Southwest.

“The physical scale of the vessels combined with the depth of the contemporary collection [is] breathtaking,” says author Charles S. King. The book is part of a “transitional process of looking to the clay, the vessel, and the potter’s voice and allowing the pieces to stand on the merit of their artistic integrity.”

The book includes portraits and voices of renowned potters speaking about their artistry and technique, families, culture, and traditions. Many of the artists are connected by Pueblos, generations, or family members. Dynamic color photography captures the depth and dimension of the pieces, while the artists provide an illuminating perspective through narrative captions. Artists, academics, collectors, family members, and gallerists add additional insight about the lives, historical context, and importance of these potters and their work.

SPOKEN THROUGH CLAY Native Pottery of the Southwest The Eric S. Dobkin Collection
By Charles S. King Essay by Peter Held

Artist portraits by Will Wilson
ISBN: 978-0-89013-624-9

352 pages, 320 color plates, 40 artist portraits

Publication Date: August 01, 2017
ABOUT THE AUTHOR Charles S. King is the author of Born of Fire: The Life and Pottery of Margaret Tafoya, The Life and Art of Tony Da, Virgil Ortiz: Revolt 1680/2180, and numerous articles on Pueblo pottery. He has served on boards of art associations, judged pottery at prestigious events, and lectures about the art form. His business King Galleries represents many of today’s leading Native potters and important historic works in clay. Charles lives in Scottsdale, Arizona.

$ 125.00 $ 95.00
Sanchez, Russell & Arthur Lopez – Immaculate Conception & Avanyu Jar

Russell Sanchez (San Ildefonso) and Arthur Lopez (Spanish), have created unique collaborative works for the first time this year.  The vessel was made by Russell and stone polished with a black clay. The wood sections were carved by Arthur.  After the piece is carved, is covered in gesso (a glue made from rabbit hide) which is allowed to dry and then sanded.  It is painted with both natural and water color pigment.  Natural colored pigments, such as the brown, are derived from black walnut hulls.  Russell uses traditional clay from San Ildefonso, which is then coil built, stone polished and traditionally fired.  These are the time involved and historic foundations for this collaboration.

The jar has a black and red polished surface. The neck and base are polished black and there are very classic San Ildefonso style handles.  The central band is polished with a deep red clay. There are inset bands of turquoise hei-shi beads.  The coloration of the firing of the black is deep and a striking complement to the deep red.

Arthur and Russell said of this jar:

This jar combines to similar concepts, the Immaculate Conception and the pueblo Avanyu.  The vessel is a classic San Ildefonso water jar.  The black, red and tan are representative of the San Ildefonso polychrome pottery.  The jar is a “pot within a pot”, where the outer pot represents the acceptance of the pueblos of Catholicism.  People looked at the religion and not how it was forced on the pueblo people.  The avanyu (water serpent) encircling the back of the jar is representative of the avanyu as a symbol of cleansing.  In a similar manner the wood lid is a representation of the Immaculate Conception.  The painted section is painted in a Spanish style and has baby Jesus and a lamb, representing ‘the Lamb of God’.  So, much as the, “lamb of God washes away the sins of the world”, the avanyu is a cleansing force in the Pueblo world.

$ 9,000.00
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