Acoma Pueblo Polychrome Jar, c.1940s [R]

In the late 1800s the California Limited of the Atchison Topeka and Santa Fe train passed through New Mexico, making stops at some of the pueblos.  It was this, more so than the Indian traders in the area that created a market for Native crafts, particularly pottery from Acoma, Laguna, Santo Domingo (now Kewa) and Isleta Pueblo.  Although the train did not at first go by Acoma Pueblo, the potters from there made daily trips to Laguna to sell their wares to the train travelers.  This daily trip by Acoma potters continued for decades, although the railroad moved its stations around, eventually closing the one at Laguna.

Mostly, the potters at all of these pueblos made small trinket-type pottery for sale to the travelers because of the ease of traveling with them.  Still, they continued to make magnificent large jars for their own use and for sale to those who would purchase larger pieces.

It is this influence that was responsible for the continuation of fine pottery production.  After the turn of the century when metal cookware and ceramic dishes became available to the pueblos, pottery production could and would have died out had it not been for the interest of travelers to the southwest.  Tourism, both by train and automobile, continued to increase and the interest of the travelers did so as well.

Jars such as this magnificent Acoma olla would not exist today except for the interest in native crafts by collectors who were mystified by Pueblo culture and wanted something from that culture.  This jar certainly could be one purchased in the 1940s era by a traveler through New Mexico, either at a pueblo or perhaps at Santa Fe Indian Market.

This jar is absolutely beautifully constructed and the design is placed on in the most attractive manner.  Placing such a significant amount of design on jars began as early as the turn of the century, probably to appeal to collectors.  According to Dillingham, the potters who made the most significant contributions to pottery at this period were Marie Z. Chino, Lucy Lewis, and Jessie Garcia.  Perhaps one of these fine potters made this jar but we have no way to substantiate that.