According to Dillingham (1992), Pueblo pottery had not shown any strong design influence from non-indigenous sources until around 1850, at which time realistic birds, floral designs, and the rainbow band appeared which were most likely derived from external sources. Bird designs—mostly stylized—had been used since prehistoric times, but the advent of more realistic renditions seems to have occurred around 1850. The style has continued to the present.

This jar has several features that are unique. A restriction at the mid body is not a usual construction technique on Acoma/Laguna pottery although I have seen it on others. It is at this constriction that the potter chose to alter her design concept. Below the constriction, she painted horizontal-leaning bars in black paint. Above the constriction, she laid out a beautiful four-color design of flowers and birds—a complete dichotomy of designs.

Two of the birds are painted yellow with black backgrounds and they are on opposing sides of the jar. Two other birds are painted deep red and outlined in black. They, too, are on opposing sides of the jar. Flowering plants with beautiful red and yellow pods separate the birds. The stacked horizontal bars on the lower part of the jar are often seen on pottery from Laguna Pueblo, so it is conceivable that this jar could be of Laguna origin.

The constriction at the mid body of the jar has gone without explanation to the best of my knowledge. It is possible that is was a convenient way to tie a leather strip around the jar to facilitate handling it but that is not documented that I am aware. Perhaps Lanmon and Harlow will have an explanation when they finish the research for the book they are writing on Acoma/Laguna pottery.

Condition: The jar was examined under UV light and no repairs or over-paint appeared obvious. It does appear that a rim crack was injected with glue but no apparent over-paint.

Provenance: ex. coll. Martha Struever ex. coll. Richard M. Howard