Rare Images from ‘Nigerian Pottery’

I received the book Nigerian Pottery as a gift from Warren Fredrick and Catherine White, Virginia potters whose home studio I visited in 2016. We’d stayed in touch via social media, and one day, Warren messaged me offering a copy of the book—he had two and thought I might benefit from having one in my library. The book, written by British anthropologist and writer Sylvia Leith-Ross, was published in 1970 by Ibadan University Press. Long out of print, copies were rare, often priced at over one hundred and fifty dollars when they did become available. The binding of the copy Warren sent me was falling apart, but recognizing the book’s cultural value, I had it professionally rebound by Max Marbles, a bookbinder in New Orleans.

A couple of years later, when I had the chance to spend time with and learn from South African Zulu potter Jabulile Nala, she told me, “That book is your weapon.” And indeed, it has given me incisive direction, helping me articulate my vision as a craftsperson with greater clarity. I hope others benefit from its contents as much as I have.

Nigerian Pottery is organized by region, and in a way, I understand how the omission of individual identities may help frame these pots as collective rather than individual expressions. For instance, many do not realize that the iconic Ladi Kwali pot is actually a form shared by other potters in her village of Kwali and the surrounding region along the confluence of the Niger and Benue Rivers. You can find images of pots made at the Abuja Pottery Centre by Lami Toto that are nearly indistinguishable from Kwali’s in both form and decoration. Of course, any potter may express their individual style and level of craftsmanship in each piece they make—but they do so within the framework of a shared understanding of what a pot should be, both functionally and aesthetically. Their pots are also unified by a connection to the land, reflected in their use of local materials and firing techniques passed down through generations.

I plan to gradually upload photos from the book, especially those not easily found elsewhere online. While I won’t scan the entire book due to copyright restrictions, fair use allows me to share a selection of images without issue. For African-descended potters piecing together the narrative of an African studio pottery movement, access to the full legacy of African ceramics is essential. These pots are our birthright—a foundation to build upon. That’s why I believe sharing these images matters, for anyone who might find value in them.

The challenge lies in choosing which photos to upload; with hundreds to consider, I don’t want my personal tastes to narrow the scope of what’s represented. The book showcases a stunning diversity of styles and skill levels, and I’d like to honor that breadth. I’ll start by sharing a few of my favorite images and let the process unfold organically from there.

Enjoy.

From the chapter, "Group 8: Ibo and Ibibio-speaking peoples of the South-East."  The introduction to the chapter states, "In the sphere of pottery, the Ibo women are among the finest potters in Nigeria, more especially as regards their inexhaustible store of invention both in form and decoration and the individual touch with they give to the most ordinary article." This pot was purchased at Onitsha market and made by Anambra women. "The intricate and harmonious design of linear, roulette, pitted, studded patterns, burnished bands and 'windows', is carried out with great skill. The clay is mixed with powdered sherds. The lower half of a broken pot is used as a saucer for forming the base of the new pot with a pancake of clay. It is then built up with coils." (pg. 155). height 35 cm, diameter 34 cm

From the chapter, "Group 8: Ibo and Ibibio-speaking peoples of the South-East."  This is one rare instance in the book that a potter was named. It states that it was "made by and bought from Nwayieme, Inyi's best potter and [has] the 'carved' appearance seen on other Ibo pottery. Nwayieme used unmixed clay and the coil method. For decorating, she used only the usual small 'comb,' small pointed sticks, a pebble for polishing, and a wooden spatula. The rim of the smaller bowls is pierced with two holes as they are habitually hung on the wall of a woman's hut. the bases of these Inyi pots are unusually well made." (pg. 161) height: 18 cm, diameter 28 cm

From the chapter "Group 6: Peoples of the Niger-Gongola Valley, under the heading "Tiv pots," and additional subheading "Brewing pots, iteigh." The pot is said to be from Ipav in Benue State. There is some description of the process by which it was decorated: "The lower half has an all-over pattern made by placing the base of the pot while the clay is still soft, in a depressioin in the ground lined with a coarse net made of local string or a coarsely woven mat. Heavy stones are placed in the pot to weigh it down, thus obtaining a clay impression on the damp clay." (pg. 133) heigh 41.5 cm, diameter 46 cm

More images to come!