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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 – “Cochiti Motifs” Painted Jar

This jar by Les Namingha is inspired by the wild spinach or Rocky Mountain bee weed plant, used to paint both Hopi-Tewa pottery and Cochiti pottery.  The oval shaped design with the sharp edges is a classic image on Cochiti pottery.  Les says that he was intrigued with the open space of the design and how it could be layered.  It is the dynamic painting on this jar which seems simple but is quite exceptional.  Les was able to paint the various colors and the look nearly transparent, one on top of another!  Les says the jar fits into his “Urban Polychrome” series as it looks at the layer of material and designs used throughout the Pueblos and Hopi.   It is dynamic blend of ideas, layers and forms.  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

$ 3,800.00
Namingha, Les – “Polychrome II (Dextra Series)” Acrylic on Canvas

This painting by Les Namingha is entitled, “Polychrome II (Dextra Series)”.  It is one of a series of acrylic paintings on canvas he made which explore both his pottery and that of his aunt, Dextra Quotskuyva.  I asked Les if he had any other paintings around and he brought in two pieces he had from the Dextra Series.  The painting is highly detailed with a top view of a piece of pottery, painted with classic design called “Prayer for Rain”.  The various colors depict both his work and Dextra’s.  Interestingly, in the center is a map of where he did his first show with Dextra, at Marti Struever’s gallery in Chicago!  What a great piece of history on so many levels!  It is signed on the front.

“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.”

$ 2,000.00
Namingha, Les – “Polychrome III (Dextra Series)” Acrylic on Canvas

This painting by Les Namingha is entitled, “Polychrome III (Dextra Series)”.  It is one of a series of acrylic paintings on canvas he made which explore both his pottery and that of his aunt, Dextra Quotskuyva.  I asked Les if he had any other paintings around and he brought in two pieces he had from the Dextra Series.  The painting is highly detailed with a top view of a piece of pottery, painted with classic Hopi-Tewa designs.  The imagery blends the work of Les and Dextra as the pointilism dots seems to show the path of Les’s work navigating through the historic.  It is signed on the front.

“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.”

$ 2,000.00
Namingha, Les – “Carnival” Carved Jar with Hopi birds

This jar by Les Namingha a creative blend of Hopi-Tewa design and his own stylistic imagery. The piece is entitled, “Carnival” and it includes both carved and applique sections.  The Hopi birds painted near the base are layered with oval designs.  These same ovals are then replicated in the carved ovals around the shoulder.  The layers of carving, dimension and design on the jar are exceptional!  It is dynamic blend of ideas, layers and forms.  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 – “Polyphonic Starburst” Acrylic Painting

This painting by Les Namingha is entitled, “Polyphonic Starburst”.  It is part of his “Urban Polychrome series. The painting is on board and it is framed.  The painting is a dynamic overlay of various textures. The various layers and the depth of the painting gives the piece subtle shadows.  The linear patterns can be seen in the background while there is the migration pattern blue line and then the Hopi birds layered on top of one another.  The various colors add to the impact, as they become more vibrant as one moves to the surface.  It captures the strength of Les’s designs and the layering techniques. I included a close up view of one section to show the texture of the piece.  Les says of the Urban Polychrome series:

“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.”

$ 2,800.00
Namingha, Les – Jar with Hopi Birds & Lightning Design Panel

This jar by Les Namingha a creative blend of Hopi-Tewa design and his own linear painting. The jar is unusual with two panels in relief.  They are each painted in black and white.  One panel has Hopi birds and a bat wing design and the other a detailed lightning design.  It is almost as if they are pottery shards on the surface of the jar.  He has then painted the jar with addition flowing layers of patterns.  Note how the imagery flow over onto the two panels!  It is a striking use of color and design.  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

$ 2,200.00
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
Peynetsa, Jamie – Seedpot with Flame and Lightning Design

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 tall seedpot has a flame design around the base and a lightning pattern extending down from the opening.  The painting across the surface is bold and defined.  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!

$ 125.00
Namingha, Les – “Segment with Line Break” Acrylic Painting on Board

This painting by Les Namingha is entitled, “Segment with Line Break”.  It is a painting on board using a acrylic. The piece has a texture in the “line break”.  First about the “line break”.  This might be seen as a “spirit line” used in pottery, which is a space in the painted line around the the neck of a jar.  In the pottery of Nampeyo of Hano, using a “line break” is often considered a hallmark of her pottery.  Interestingly on this piece, the line is impressed into the painting, so that it has a recessed feel!  The “segment” part of the painting are the four shapes (two triangles, one half circle and a trapezoid).  They are all shapes seen in the designs on Hopi-Tewa pottery.  Les has both minimalized them and used primary colors for them.  Much as they are the “primary” shapes, they are represented here in the primary colors.  It’s fascinating that such a small painting can have such a depth of context! It is signed on the front and also on the back.

$ 600.00
Namingha, Les – “Spiral” Acrylic Painting on Board

This painting by Les Namingha is entitled, “Spiral”.  It is a painting on board using a acrylic. The piece has a textured background with linear impressed “grid”.  On top is an impressed spiral, which circles out from the center.  It’s a classic Hopi-Tewa design seen in everything from jewelry to pottery.   Les brought in this small painting, which certainly captures his creativity in even the most simplistic of styles.

$ 400.00
Namingha, Les – “Hopi Bowl Design” Acrylic Painting

This painting by Les Namingha is entitled, “Hopi Bowl Design”.  It is part of his “Urban Polychrome series. The painting is on board and it is framed.  The painting has a crackled back layer with a large Hopi bird painted on the surface.  The body of the bird is highlighted with various Hopi-Tewa designs.  The area around the bird is painted with pointilism dots and lines.  The background is striped.  Take a closer look at the second photo and you can see the crackling. It gives a feeling of pottery and clay with the acrylic.  Exceptional! Les says of the Urban Polychrome series:

“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.”

$ 1,600.00
Namingha, Les – “Patterns” Acrylic Painting

This painting by Les Namingha is entitled, “Patterns, Black on Bronze”. The painting is acrylic and metallic pigments on canvas.  I think in the photos don’t quite capture the texture of the background.  However, the painting is a series of very delicately painted bird wings which ebb and flow across the canvas.  Stepping back and various new shapes appear.  It is a striking use of a very classic Hopi design in a repetitive style to create a larger and more dynamic painting. I attached a few additional photos of the piece installed in the gallery.

 

“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.”

$ 4,000.00
Namingha, Les – “Window in Time” Painting

This painting by Les Namingha is entitled, “Window in Time”.  It is part of his “Urban Polychrome series.  The paining is graphite, ink pencil and wax crayon on paper.  It is a very dramatic painting.  The black lines form the window which presents the viewer looking out into the past.  Hopi-Tewa designs are painted boldly in clay colors while the other designs are simply outlines.  The further back one looks, the more (or maybe less) one sees.  Les says of the Urban Polychrome series:

“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.”

$ 1,200.00
Namingha, Les – “Raven & Crow” Painting

This painting by Les Namingha is entitled, “Raven & Crow”.  It is part of his “Urban Polychrome series.  The paining is graphite, ink pencil and wax crayon on paper.  It is a very powerful and very dramatic painting.  The raven and crow are the top layer of design in black.  Look a bit further and there is so much painted behind them with other Hopi imagery and coloration.  Stunning!  Les says of the Urban Polychrome series:

“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.”

$ 1,200.00
Namingha, Les – “Existence” Acrylic Painting

This painting by Les Namingha is entitled, “Existence”.  It is part of his “Urban Polychrome series. The painting is on board and it is framed.  The painting is a powerful painting with various Hopi birds, shapes and designs.  Look at the top left and there is even one of his tiles!  The bold bird in yellow on top and the layers underneath require an in depth viewing of this piece.  Simply exceptional! Les says of the Urban Polychrome series:

“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.”

$ 1,800.00
Namingha, Les – “Polychrome Abstraction” Acrylic Painting

This painting by Les Namingha is entitled, “Polychrome Abstraction”.  It is part of his “Urban Polychrome series. The painting is on board and it is framed.  The painting is a dynamic overlay of various Hopi birds and designs.  Look closer and the initial layer of bird wings in turquoise color.  While not a huge painting it captures the strength of Les’s designs and the layering techniques. Les says of the Urban Polychrome series:

“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.”

$ 2,000.00
Namingha, Les – “Kiva Wall Painting” Jar

This is a very traditionally inspired jar by Les Namingha.  He is one of those potters who continues to defy expectations in his innovative clay art.  He pulls from his artistic background as well as his Zuni and Hopi heritage.  This jar is inspired by the classic Kiva wall paintings from Awatovi and other kiva ruins.  Here, one of the classic figures is the “mosquito man” and he is depicted with stalks of corn. Les has painted variations on each of them.  The designs below are pollen patterns. It is exciting to see how Les reinterprets such pivotal historic designs on his pottery.  The jar is signed on the bottom.

$ 4,400.00
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”.

$ 8,800.00
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
Sale!
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 $ 450.00
Namingha, Les – Sikyatki Sunrise Canteen

This is a exceptional large 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
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
Peynetsa, Jamie – Jar with Rainbirds & Rosettes

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 a distinctive shape with the very low indented base and the wide shoulder.  There are two large rosettes on either side of the jar.  Separating them are bands of rainbirds and Zuni birds.  Along the top of the shoulder are cloud designs with fineline patterns.  Note how well Jamie paints to match design and form.  The patterns bends and flows with the shape of the piece!  It is a striking jar and striking coloration! It is signed by Jamie and his mother on the bottom.  At only 20 years old, he certainly has a great future in pottery!

$ 1,400.00
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
Sale!
Kaamasee, Derrick – Turquoise Double Eagle Family

This Zuni carving by Derrick Kaamasee is carved from turquoise. There are two eagles and a small baby eagle on the branch by their feet.  The piece is very intricately carved with much detail to the wings. The eyes are inlaid with jet.

$ 100.00 $ 75.00
Sale!
Livingston, Albert – Marble Badger

This carving is by Albert Livingston.  It is carved from marble in the shape of a realistic badger.

$ 40.00 $ 30.00
Sale!
Laiwakete, Fernando –  Heartline Bear with Bird

This Zuni carving by Fernando Laiwakete is carved from agate. It is a bear which has an inlaid turquoise for the heartline.  The bundle on the back has a bird.

$ 50.00 $ 40.00
Sale!
Boone, Lena – Green Turquoise Fox with Arrowhead Bundle

This Zuni carving by Lena Boone is made from turquoise.  The fox is traditional in shape and has an arrowhead bundle on its back.  The turquoise is green in coloration.

$ 30.00 $ 20.00
Sale!
Boone, Lena – Turquoise Fox with Arrowhead Bundle

This Zuni carving by Lena Boone is made from turquoise.  The fox is traditional in shape and has an arrowhead bundle on its back.  The turquoise has a deep blue coloration.

$ 30.00 $ 20.00
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 $ 40.00
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 $ 30.00
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 $ 30.00
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 $ 40.00
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
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
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
Sale!
Quam, Daphne – Turquoise Fox with Arrowhead Bundle

This Zuni carving by Daphne Quam is made from turquoise.  This fox is traditional in shape and has an arrowhead bundle on its back. The turquoise has some great color variation.

$ 60.00 $ 50.00
Peynetsa, Anderson – Jar with 24 Heartline Deer

This is a striking olla by Anderson Peynetsa. The jar is a beautiful shape with a wide shoulder and slight neck.  The body of the jar is painted with painted with three rows of heartline deer. All together there are 24 of them on this jar!  Each deer is very tightly painted and the quantity of them give the jar a very dynamic appearance.  The heartline deer is a classic image in Zuni pottery, with the heart representing the strength and spirit of the animal.  The rim of the jar has a rain and cloud pattern and note as well the space in the design, which is the ‘spirit line’, which is a traditional design element in Zuni pottery.  The white is a kaolin clay slip and the black bee-weed, while the red is an additional clay slip.   Anderson has signed the bowl on the bottom.

$ 1,500.00
Sale!
Quandelacy, Faye – Turquoise Corn Maiden

This Zuni fetish carving is by Faye Quandelacy.  She is certainly one of the most famous descendants of Ellen Quandelacy and known for her very classic style of corn maidens. They are each hand carved and the horizontal eyes are indicative of her style.  This corn maiden is carved from turquoise.  The body is carved with a corn design and the back is the flowing hair. The piece is in excellent condition.

$ 50.00 $ 40.00
Sale!
Kaamasee, Derrick – Turquoise Buffalo Family

This Zuni carving by Derrick Kaamasee is carved from turquoise. There are two buffalo in this highly detailed carving.  There is the larger buffalo and the baby buffalo sitting to the side!  The eyes are inset with jet.  It is a charming piece!

$ 100.00 $ 80.00
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
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
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.

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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

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“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!
Mahooty, Michael – Rainbow Calcite Bear

This Zuni carving by Michael Mahooty is carved from rainbow calcite.  It is a striking coloration to the stone.  There is an arrowhead carved from mother of pearl and medicine bundle on the back.

$ 25.00 $ 20.00
Sale!
Leekya, Freddie – Travertine Coyote

This Zuni carving is by Freddie Leekya.  The coyote is carved from travertine.  There are turquoise inlay for the eyes and coral for the tongue.  The back has an arrowhead as part of the medicine bundle.

$ 50.00 $ 40.00
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
Sale!
Haloo, Calvin – Picasso Marble Badger

This Zuni carving is by Calvin Haloo.  The badger is carved from Picasso Marble. It is highly detailed for the body of the piece.  The badger has a realistic appearance.  The arrowhead on the back is carved into the piece and there is an additional turquoise arrowhead on top.

$ 75.00 $ 60.00
Quam, Daphne – Labradorite Badger

This Zuni carving is by Daphne Quam. It is a badger carved from labradorite.  There is a lot of color in the stone!  There is an arrowhead on the back.

$ 28.00
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
Sale!
Boone, Lena – Turquoise Badger

This Zuni carving by Lena Boone. She is one of the most famous of the traditional Zuni fetish carvers. This badger is carved from turquoise and has a medicine bundle on it back.

$ 40.00 $ 30.00
Sale!
Laiwakete, Bernard – Orthocera Fossil Bear with Heartline

This Zuni carving by Bernard Laiwakete is carved from Orthocera fossil.  It has a heartline on one side and the other side it is possible to see the fossils!

$ 80.00 $ 60.00
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
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