Very Large Storage Jar from Zia Pueblo [SOLD]

As described by Harlow and Lanmon in the Pottery of Zia Pueblo, there was a period in Zia pottery production, beginning in the1880s, when two styles of arc designs were in use.  One they named Reflected Arcs appeared between 1880 and 1900 and the other, Rainbow Arcs, in use between 1880 and 1930.  Reflected Arcs generally were designs within arcs that were connected at their ends.  The Rainbow Arcs are familiar even today as the undulating arcs traversing over some design areas and under others.

This very large storage jar (the largest we have ever had in the gallery) features Rainbow Arcs and dates to near the end of the period when these were used—1920s.  The wide double rainbow bands arch over a bird whose tail feathers are parallel to the ground.  They then arch under a bird whose tail feathers droop downward.  Each of the birds is enclosed in an area the shape of a heart. 

Interestingly, the high point of the double rainbow arch is connected to the rim framing line with five black rectangular bars similar to those seen at the upper edge of the Zia Sun symbol—perhaps intentional by the artist or perhaps just a coincidence.

According to Harlow and Lanmon, Zia potters began experimenting with a new slip color that was orange-tan as early as 1920 and into the 1930s.  The red band that was traditionally wiped over the underbody just below the design area was abandoned by 1930.  Since this jar features the orange-tan slip and also features the wide red wiped-on band, it is easy to date it to the 1920s.

The jar has a glittery appearance because of flecks of mica in the slip.  This is not an unusual occurrence in Zia pottery as mica is native to the clay.

There has been no attempt to assign the name of a potter to this jar.  Perusal of the Zia pottery book does not reveal any birds of the style of those on this jar.  The long graceful neck of these birds and the stripes in the bodies—black on two birds and unpainted on the other two—are not seen in photographs in the Zia book.  The jar is magnificent, was obviously made by an exceptional potter not afraid to produce a very large vessel, and painted to perfection by a very talented artist.  We owe our respect to whomever she was and we can admire her work without knowing her name.

Condition: very good condition, approaching perfection

Provenance: from the collection of a family from Colorado

Recommended Reading: The Pottery of Zia Pueblo by Harlow and Lanmon