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Zuni Pueblo. English Pronunciation: "Zoo-nee" Traditional Name: SHE-WE-NA A Zuni Legend tells the story of the parrot and the crow, each of whom presents and egg to the Zuni women to decide which one they will keep. The women choose the egg of the crow because of its wonderful turquoise color. The Zuni love of color is reflected everywhere in the3ir daily lives, as well as in their ceremonies. While comparatively little pottery is made by Zuni craftsmen, they have a tradition of beautiful work in clay and still use their work in ceremonies. The murals of Alex Seowtewa in the Mission Church of Nuestra Senora de Guadalupe in the plaza of the Pueblo are remarkable examples of Indian painting at its best. They depict the history and the culture of the Zuni people and demonstrate once more the Zuni genius in the use of color. The church itself is a good example of traditional Pueblo architecture. One of the most famous of the Kachina dances, Shalako, is held every December in the Zuni Pueblo, to celebrate the end of the old and the beginning of the New Year, and to bless all of the houses of the Pueblo erected during the year.

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Namingha, Les – “Hopi-Zuni Modern” Large Jar

This large jar by Les Namingha is a striking combination of Hopi designs along with contemporary textured designs.  The shape of the jar has a round shoulder and an asymmetrical neck and opening.  The jar is painted with a variety of designs.  There are stripes of Hopi-Tewa designs.  They are painted in a manner as if they are being painted over by the other designs.  There are larger white bird swirls and multi-color bands of rain patterns.  The pointilism sections are areas which are inspired by Zuni katsina figures and which Les has often painted on his pottery.  The fascinating part of this jar is the sections which are painted with a more textural feel.  These areas are the deep blue and red with the white rain patterns.  As well, the various large gray geometric forms also have a textural feel.  For Les’s pottery, adding a textural dimension is not something new but it intensifies the layering aspect of the work.   There is something distinctive about this jar and the layers over older style of designs, as if Les is moving on to another new direction in his art.  It is a simple, provocative and powerful jar.  The jar is signed on the bottom.

$ 7,200.00
Westika, Gaylon – Two-Tone Large Water Jar with Heartline Deer, Dragnflies and Rain Designs

Gaylon Westika is the son of noted potters Anderson and Avelia Peynetsa.  Each piece is coil built and painted with classic Zuni imagery.  This large jar is a striking shape with a round body and a slight. neck. The jar is two colors with a red clay slip on the bottom and an orangish color above the shoulder.  The bottom half of the jar is painted with complex rain and lightning designs.  Note the fine lines for the rain. The top half has Gaylon’s stylistic heartline deer.  The deer encircle the jar and are surrounded by dragonflies. Dragonflies are significant as prayer messengers.  Near the feet of the deer are Zuni style plant patterns. The jar is complex and the style of deer are indicative of Gaylon’s painting.  It is signed on the bottom in the clay.  Gaylon says of his art:

“I work hard to develop pottery that speaks both to me and others about the beauty that exists here in Zuni. With the completion of each piece, I believe the breath of my ancestors live on, reminding us of the Zuni culture, traditional design and lifestyle we strive to preserve.” Gaylon Westika

$ 1,000.00
Peynetsa, Anderson – Large Duck Figure with 6 Deer

Anderson Peynetsa is known for his vessels as well as his figurative pottery.  This duck figure is one of his technically amazing pieces.  The figure is opened at the top and has extended pieces of clay at the head and tail.  It is fully painted but it is the use of the heartline deer around the body of the piece which is so striking.  They are painted in his own style with the elongated necks.  Anderson has an elegant and modern stylization of the heartline deer on his pottery.  It is fascinating how a piece can appear both modern and yet reflect cultural history and charm.  The area above and below the deer painted with a mottled red and black over the white.  The piece is complex in both form and design.  It is signed on the bottom in the clay.

$ 1,600.00
Peynetsa, Anderson – Seedpot with Lizard and Dragonfly

This is a figurative seedpot by Anderson Peynetsa.  The seedpot has a lizard in relief with its head extending up over the top of the piece. The tail swirls around the piece and the white dots on the back are a white clay and are raised.  There is also a painted dragonfly on the piece.  Dragonflies are significant as prayer messengers. The seedpot is striking both in shape and design.  It is signed on the bottom in the clay.

$ 125.00
Namingha, Les – “Striped Pueblo Jar #1” Jar

This jar by Les Namingha is entitled, “Striped Pueblo Jar #1”.  The shape is one of his now classic forms with a round shoulder and an asymmetrical neck and opening.  The jar is painted with a variety of Pueblo designs.  Around the neck are white cloud and blue sky dots.  Around the shoulder are very finely painted triangular geometrics alternating with tightly painted mulit-color rectangles.  The triangles are inspired by Acoma, while the colored rectangles remind one of the jewelry of Charles Loloma and his inspiration of the Hopi landscape.  Below that are striped bands of color along with pointilsim sections.  These various designs remind one of Acoma, Zuni and Hopi designs.  The lower band has thinly painted intersecting circles and lines creating a variety of interlocking patterns.  The lowest section has the black triangular designs on the brown band are inspired by the work of the Southern pueblos.  As all the imagery is broken apart, the various sources of inspiration become quickly evident.  It is certainly a creative direction for his pottery designs.  The jar is signed on the bottom.

$ 3,200.00
Peynetsa, Anderson – Jar with Dragonflies

This is a charming jar by Anderson Peynetsa. It has tall shoulders and a short neck. There are two dragonflies painted on the jar.  Separating them are tadpoles.  The white clay slip has a raised, textural feel.  Anderson has signed the jar on the bottom.

$ 120.00
Peynetsa, Anderson – Red Clay Owl

This is a small owl figure Anderson Peynetsa.  The owl is a classic shaped figure for Zuni pottery.  The piece is charming with a round body with extended beak, tail and wings.  The piece is fully painted with the feathers and a cloud and rain design on the back of the head.  In Zuni culture, the owl is the protector of the home and the keeper of the night. He is able to see what others cannot see and is thought to be very observant and perceptive. He is thought to have true wisdom and patience.   Anderson has signed the bowl on the bottom.

$ 120.00
Westika, Gaylon – Seedpot with Lizard and Dragonfly

Gaylon Westika is the son of noted potters Anderson and Avelia Peynetsa.  Each piece is coil built and painted with classic Zuni imagery.  This seedpot has a lizard painted with its head extending upward in relief.  The body of the lizard is painted with a white clay.  Each of the dots of white has a textural feel.  The remainder of the jar is painted with rainbird swirls and a large dragonfly.   Dragonflies are significant as prayer messengers. The seedpot is striking both in shape and design.  It is signed on the bottom in the clay.  Gaylon says of his art:

“I work hard to develop pottery that speaks both to me and others about the beauty that exists here in Zuni. With the completion of each piece, I believe the breath of my ancestors live on, reminding us of the Zuni culture, traditional design and lifestyle we strive to preserve.” Gaylon Westika

 

$ 160.00
Peynetsa, Anderson – Jar with 12 Heartline Deer

This is a striking olla by Anderson Peynetsa. The jar is a beautiful shape with a wide shoulder, a slight indention before the neck and a slightly turned out rim.  The body of the jar is painted with painted with two rows of heartline deer. All together there are 12 of them on this jar!  Each deer is very tightly painted and they are stylized with thin legs. Each deer is surrounded by a prayer feather and cloud pattern.  The additional designs adds to the dynamic appearance of this jar.  The heartline deer is a classic image in Zuni pottery, with the heart representing the strength and spirit of the animal. Anderson has signed the bowl on the bottom.

$ 1,000.00
Peynetsa, Anderson – Clay Owl Figure

This is a small owl figure Anderson Peynetsa.  The owl is a classic shaped figure for Zuni pottery.  The piece is charming with a round body with extended beak, tail and wings.  The piece is fully painted with the feathers and a cloud and rain design on the back of the head.  In Zuni culture, the owl is the protector of the home and the keeper of the night. He is able to see what others cannot see and is thought to be very observant and perceptive. He is thought to have true wisdom and patience.   Anderson has signed the bowl on the bottom.

$ 115.00
Namingha, Les – Day and Night Urban Polychrome Jar

This is a very detailed jar by Les Namingha.  It is stylized with black and white checkerboard pattern inside bird designs around the top of the jar.  Around the shoulder are Hopi-Tewa birds with intricately painted Hopi designs inside them. The bottom has geometric shapes painted in various colors.  While the jar is part of his “Urban Polychrome” series, I included a final photo in the series of the jar next to a piece by Nampeyo of Hano (his ancestor).  Check out the use of her geometric shapes, checkerboards, and lines.  It is easy to that Les’s modernist pottery has deep roots in Hopi-Tewa pottery!  The jar is signed on the bottom.

“The concept of layering is inherent in our mortal journey. As time moves forward, our memories become layered. Some memories remain vibrant, others faint or hazy. Yet others, obscure or even hidden. Likewise, our experiences, words, works, emotions, prayers and songs build up in layers creating our existence. In turn, our societal interactions become exercises in layering. We see this in evidence with street art or graffiti writing where layers of thought and a desire to express a “proof of existence” create tapestries of color and marks. Blending, covering, harmonizing, dissonance, disappearing. This concept of layering is the idea behind Urban Polychrome and other works in the Urban Series.”  Les Namingha

$ 2,200.00
Laate, Jennie – Large Jar with Deer and Rosettes (1970’s)

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This is one of the largest pieces of her pottery we have ever seen!  She usually made miniatures so something this large and complex is definitely unusual.  It is also striking in appearance.  The jar is large and round and just a slight neck.  The sides are painted with deer in their “houses” and separating them are large rosettes.  Around the neck are rainbird patterns, which are painted with fine lines.  All of these are design elements which are seen on classic Zuni vessels of the late 1800’s.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 1,000.00
Namingha, Les – “Birds Through The Window” Jar with Mica

This is a creative jar by Les Namingha.  It is a creative blend of Hopi-Tewa birds, Hopi and Zuni designs and mica.  The concept for the jar is a series of Hopi birds painted against a geometric white and blue sky. The birds are various colors and they are made up of various Hopi-Tewa or Zuni designs (the dots).  The larger geometric shapes are each painted with different colors.  They represent the “windows” looking out at the birds.  The background blue and white area of the jar is also slipped with mica into the clay. It creates both a texture (the feel of the mica) ad the bit of shine from the reflection of the mica.  It is a simple but powerful jar.  The jar is signed on the bottom.

$ 3,000.00
Namingha, Les – Contemporary Zuni Jar

This dynamic jar by Les Namingha is inspired by Zuni pottery of the early 1900’s.  Les often pulls from his Hopi-Tewa and Zuni ancestry for inspiration.  The shape and overall imagery finds a source in classic Zuni pottery.  The top of the jar is painted with rain cloud and lightning designs.  The lightning pattern on the neck is delicate and striking in the alternating designs.  The shoulder has a water design.  Note the flow of the coloration on this jar, as the top is greens and blues while the lower areas are the red of the earth. It is then the lower half of the jar which has the very tightly painted fine-line designs of the rain and cloud patterns.  Close to the base are the circular water designs.  The shape and intricate designs create a visual testament to a modernist approach to Zuni pottery.   The jar is signed on the bottom.

$ 3,800.00
Namingha, Les – Sikyatki Sunrise Canteen

This is an exceptional larger jar by Les Namingha.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  This jar is one of his famous shapes, as it is inspired by a canteen, but reformed with a wider surface for more design.  One side of the jar has a Sikyatki (Hopi pottery from the 1400’s) bird with extended wings. The colors are all reminiscent of Hopi with the black and red and intricate patterns in the body of the piece. The circles are like the reflections of light at sunrise.  As the jar is turned there is the dramatic painted section.  It is a complex compilation of Hopi designs which encompass most of the surface of the jar.  The setting of the white clay and painted surface adds to the dramatic effect.  There is something both modern and very ancient about this jar!  It is signed on the bottom.

$ 3,800.00
Namingha, Les – Hopi Sky Birds and Clouds

This wide jar by Les Namingha a creative blend of Hopi-Tewa and modernist designs.  The jar is a wide shape with a short neck.  It is fully painted on top with a complex pattern of Hopi-Tewa style birds.  The birds are painted against a background of triangular clouds. The birds are of various colors and they are each made up of different Hopi designs.  Take a closer look at the top view and the dynamic variations of each layer of readily apparent.  This jar is part of his “Urban Polychrome” series, of which Les says:

“The concept of layering is inherent in our mortal journey. As time moves forward, our memories become layered. Some memories remain vibrant, others faint or hazy. Yet others, obscure or even hidden. Likewise, our experiences, words, works, emotions, prayers and songs build up in layers creating our existence. In turn, our societal interactions become exercises in layering. We see this in evidence with street art or graffiti writing where layers of thought and a desire to express a “proof of existence” create tapestries of color and marks. Blending, covering, harmonizing, dissonance, disappearing. This concept of layering is the idea behind Urban Polychrome and other works in the Urban Series.”  Les Namingha

$ 3,600.00
Namingha, Les – “Gathering Birds with Approaching Clouds” Acrylic Painting

This painting by Les Namingha is entitled, “Gathering Birds with Approaching Clouds”.   It is acrylic on board. The painting is certainly Les at his very best and most intricate. The design has numerous areas of his pointilism in both larger and smaller areas.  The small dots stand out against the graph-like division of the overall piece.  Why the lines and the placement of the designs, it’s best to let Les explain:

“Gathering Birds with Approaching Clouds” is a playful geometric and line abstraction depicting the flurry of action as birds gather on power lines in an urban setting. The birds are alluded to by triangular and trapezoidal shapes representing tail feathers. Red circular patterns within other geometric shapes create motion symbolizing movement as mentioned in the painting’s title. The grid-like design in the mid portion of the composition represent a “birdseye” view of an urban environment. A larger grid structure encompassing the painting highlights the same idea.  Horizontal lines indicate electricity cables on which birds settle or from which they launch into flight. The “approaching” clouds are depicted as small triangular shapes on the upper right portion of the painting.  The idea to create this painting stemmed from my observations of such activity of birds as I would drive around the city.”

The painting is on board and has a silver leaf wood frame.  It is a creative and striking painting and certainly a reflection of Les’s strength both as a potter and a painter.

$ 2,400.00
Peynetsa, Anderson – Turtle Bowl

This is a charming bowl by Anderson Peynetsa. It is made using the red clay and  the bowl is in the shape of a turtle on its back.  The sides of the piece are fully painted and there is a swirling rainbird design.  Anderson has signed the bowl on the bottom.  Yes, definitely charming.

$ 300.00
Laate, Jennie – Clay Zuni Owl (1980’s)

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This miniature owl clay figure.  It is coil built and in the style of the classic Zuni owls.  She has painted the feathers onto the surface of the piece.  It signed on the bottom and it is in very good condition with no chips, cracks, restoration or repair.  The last photo is of the owl next to the large jar which is online relative to scale.

$ 75.00
Folwell, Susan & Les Namingha – “Corn Maiden: Earth Mother” Jar

Susan Folwell (Santa Clara )and Les Namingha (Hopi-Tewa/Zuni) collaborated together for the first time on a series of vessels in a show entitled “Corn:Maiden:Cultures” in 2015. The concept for the exhibition was that the Corn Maiden in Pueblo culture can also be found as a primal female archetype in cultures throughout the world.  There is play back and forth on these vessels as the multi-cultural figures are placed within a Pueblo context as the “Corn Maiden”, who brings the corn, the harvest and life.  This jar has been in an exhibit at the Museum of Indian Art and Culture since 2016.

This large jar was made by Les.  The designs painted by Susan on two sides show a Hopi maiden and a Pueblo maiden.  Her idea was to leave the faces empty, so that they did not represent just one person, but all women.  The two women represent the Pueblo and Hopi ancestry of Les and Susan. Playing from Susan’s more realistic portrayals, Les painted a more modern version of the women on the other two sides.  The angular shape of this vessel, made from Zuni clay, is unusual but also perfect for this important imagery.  In many ways, this powerful jar brings together the ideas of womanhood, femininity, modernism and the continuing importance of the Corn Maiden concept in Pueblo culture.  The dark brown background works perfectly for this intense jar.  Check out more of their exceptional collaborative pottery in the book, “Spoken Through Clay”.

$ 7,700.00
Peynetsa, Ian – Jar with Rain Birds (1994)

This jar by Ian Peynetsa is from 1994.  It is a more classic style of Zuni design with the Zuni rainbirds and the fine-line rain deigns.  It is an interesting combination of these classic designs with the vertically polished white slip to enhance the designs.  The jar won a 2nd place at the 1994 Zuni High School Art show. It is signed, “Ian Peynetsa”.  While he no longer makes pottery, it is a striking example of creative student art!  It is in excellent condition with no chips, cracks, restoration or repair.

$ 400.00
Peynetsa, Jamie – Jar with Rain & Lightning Designs

Jamie Peynetsa is the son of noted potters Anderson and Avelia Peynetsa.  Avelia, his mother, coil builds the clay vessel.  Jamie paints the design.  He has a strong attention to the detail of the painting as well as his inspiration from classic Zuni pottery.  This jar is very tightly painted with rain designs above the shoulder.  The thin lines are even and add complexity to the piece.  The sides of the jar are boldly painted with lightning patterns.  Note how well Jamie paints to match design and form.  It is signed by Jamie and his mother on the bottom.  At only 20 years old, he certainly has a great future in pottery!

$ 600.00
Lailo, Lydia Vicenti – Clay Owl Figure

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This miniature owl clay figure.  It is coil built and in the style of the classic Zuni owls.  She has painted the feathers onto the surface of the piece.  It signed on the bottom and it is in very good condition with no chips, cracks, restoration or repair.

$ 75.00
Sale!
Boone, Lena – Clear and White Glass Mountain Lion Arrowhead Bundle

This Zuni carving by Lena Boone is made from glass.  The mountain lion is traditional in shape and has an arrowhead bundle on its back.  The glass is a clear, white and pink coloration.

$ 50.00 $ 35.00
Sale!
Boone, Lena – Red Glass Mountain Lion Arrowhead Bundle

This Zuni carving by Lena Boone is made from glass.  The mountain lion is traditional in shape and has an arrowhead bundle on its back.  The glass is a deep red coloration.

$ 40.00 $ 25.00
Sale!
Quam, Daphne – Mulit-color Glass Mountain Lion with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from glass.  The mountain lion is traditional in shape and has an arrowhead bundle on its back.  The glass has a green, blue, yellow and clear coloration.

$ 40.00 $ 25.00
Sale!
Quam, Daphne – Mulit-color Glass Beaver with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from glass.  The beaver is traditional in shape and has an arrowhead bundle on its back.  The glass has a green, blue, yellow and clear coloration.

$ 50.00 $ 40.00
Sale!
Quam, Daphne – Blue and Clear Glass Badger with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from glass.  The badger is traditional in shape and has an arrowhead bundle on its back.  The glass has a green, blue and clear coloration.

$ 50.00 $ 38.00
Sale!
Quam, Daphne – Sodalite Badger with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from sodalite.  The badger is traditional in shape and has an arrowhead bundle on its back.  The sodalite has a deep blue and white coloration.

$ 40.00 $ 30.00
Sale!
Quam, Daphne – Azurite Eagle with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from azurite.  The eagle is traditional in shape and has an arrowhead bundle on its back.  The azurite has a deep blue coloration with specs of green.

$ 40.00 $ 30.00
Sale!
Quam, Daphne – Light Blue Glass Fox with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from glass.  This fox is traditional in shape and has an arrowhead bundle on its back. The glass is a opaque blue coloration.

$ 20.00 $ 15.00
Sale!
Pincion, Herbert – Horse & Sitting Foal Carving

This Zuni carving by Herbert Pincion is carved from spotted travertine.  It is a highly detailed carving with a mare and sitting foal.  For the size, it is wonderfully detailed!

$ 40.00 $ 30.00
Sale!
Kaamasee, Derrick – Apple Coral Elk

This is an exceptionally detailed Zuni carving by Derrick Kaamasee.  It is carved from turquoise. There is an elk standing up on a rock.  There is detail in the fur and the movement.  It is signed on the bottom.

$ 100.00 $ 70.00
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
Sale!
Leekya, Freddie – Travertine & Turquoise Bird

This Zuni carving is by Freddie Leekya.  The bird is carved from travertine.  There are turquoise inlay for the eyes and on the wings.  The beak is mother of pearl.

$ 50.00 $ 35.00
Sale!
Lementino, Tim – Bear Family

This Zuni carving by Tim Lementino.  It is a group of five bears carved from pipestone.  They each have turquoise eyes.  There is a bundle holding them together from shell and turquoise.

$ 60.00 $ 40.00
Sale!
Laiwakete, Rodney – Heartline Ram and Bird

This Zuni carving by Rodney Laiwakete is carved from agate. There is a Big Horn Sheep which has an inlaid turquoise and moher -of -pearl heartline.  The bird on the back is also carved from agate.  It is attached as a medicine bundle.

$ 50.00 $ 40.00
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