Early Pithouse period villagers played a generative role in the cultural and historical sequence of the Mogollon region, which is best known for the stunning black-on-white pottery of the Classic Mimbres culture. This volume presents a complete report on the archaeology of two important Early Pithouse settlements located along the Rio Mimbres, including detailed accounts of the excavation units, depositional contexts, architectural details, radiocarbon dates, miscellaneous artifacts, and ceramic frequency distributions.

The Thomson and McAnally sites contain architecture, artifacts, and other remains of the earliest relatively sedentary horticulturalists to occupy this part of the Southwest. The authors synthesize the data about charges over time in the villagers’ lifestyle to develop a new chronology for the occupation of the region.

Alfred V. Kidder’s excavations at Pecos Pueblo in New Mexico between 1914 and 1929 set a new standard for archaeological fieldwork and interpretation. Among his other innovations, Kidder recognized that skeletal remains were a valuable source of information, and today the Pecos sample is used in comparative studies of fossil hominins and recent populations alike.

In the 1990s, while documenting this historic collection in accordance with the Native American Graves Protection and Repatriation Act before the remains were returned to the Pueblo of Jemez and reinterred at Pecos Pueblo, Michèle E. Morgan and colleagues undertook a painstaking review of the field data to create a vastly improved database. The Peabody Museum, where the remains had been housed since the 1920s, also invited a team of experts to collaboratively study some of the materials.

In Pecos Pueblo Revisited, these scholars review some of the most significant findings from Pecos Pueblo in the context of current Southwestern archaeological and osteological perspectives and provide new interpretations of the behavior and biology of the inhabitants of the pueblo. The volume also presents improved data sets in extensive appendices that make the primary data available for future analysis. The volume answers many existing questions about the population of Pecos and other Rio Grande sites and will stimulate future analysis of this important collection.

This classic volume on the evocative and enigmatic pottery of the Mimbres people has become an irreplaceable design catalogue for contemporary Native American artists. Burt and Harriet (Hattie) Cosgrove were self-trained archaeologists who began excavating Mimbres materials in 1919. When their meticulous research came to the attention of Alfred V. Kidder of the Peabody Museum, he invited them to direct the Mimbres Valley Expedition at the Swarts Ranch in southern New Mexico on behalf of the Peabody.

Working in the summers of 1924 to 1927, the Cosgroves recovered nearly 10,000 artifacts at the Swarts site, including an extraordinary assemblage of Mimbres ceramics. Like their original 1932 report, this paperbound facsimile edition includes over 700 of Hattie Cosgrove’s beautiful line drawings of individual Mimbres pots. It also presents a new introduction by archaeologist Steven A. LeBlanc, who reviews the eighty years of research on the Mimbres that have followed the Cosgroves’ groundbreaking study. The Peabody’s reissue of The Swarts Ruin once again makes available a rich resource for scholars, artists, and admirers of Native American art, and it places in historical context the Cosgroves’ many contributions to North American archaeology.

In late prehistory, the ancestors of the present-day Hopi in Arizona created a unique and spectacular painted pottery tradition referred to as Hopi Yellow Ware. This ceramic tradition, which includes Sikyatki Polychrome pottery, inspired Hopi potter Nampeyo’s revival pottery at the turn of the twentieth century.

How did such a unique and unprecedented painting style develop? The authors compiled a corpus of almost 2,000 images of Hopi Yellow Ware bowls from the Peabody Museum’s collection and other museums. Focusing their work on the exterior, glyphlike painted designs of these bowls, they found that the “glyphs” could be placed into sets and apparently acted as a kind of ­signature.

The authors argue that part-time specialists were engaged in making this pottery and that relatively few households manufactured Hopi Yellow Ware during the more than 300 years of its production.Extending the Peabody’s influential Awatovi project of the 1930s, Symbols in Clay calls into question deep-seated assumptions about pottery production and specialization in the precontact American Southwest.