Exquisite Zia Pueblo Polychrome Storage Jar [R]

Zia Pueblo has existed at the same location for over 700 years. It is located in a heavily volcanic area of Northern New Mexico, situated near Santa Ana Pueblo, Jemez Pueblo, and about 30 miles northwest of Albuquerque. The spelling of the pueblo's name originally was Tsia, but corrupted to Zia in the 20th century.

The potters of Zia have consistently produced outstanding vessels, made particularly strong by the use of crushed powered lava for a tempering agent. They spent considerable effort in providing beautiful decoration executed in precise detail on the vessels made for their own use and those made for trade to the people of Jemez Pueblo for crops from the Jemez fields.

The quality of Zia pottery has never declined as it did at some of the other pueblos when commerce overtook Native uses. This jar, dating to the 1920s or 1930s, is as beautiful and as strong and functional as a jar made a century earlier. The maker of this fine specimen is unknown. There are no known signed Zia pieces of pottery before 1920. Signing did not begin there until the 1960s.

Since the publication of The Pottery of Zia Pueblo by Harlow and Lanmon, it is sometimes possible to attribute pottery from the early 20th century to an artist by name. Comparison of design elements of documented pieces can be used to match pieces by an unknown artist. This is not always as easy as one would like. For instance, the bulbous ears on the Zia birds of this jar are quite similar to a documented jar by Juana Lupita Toribio Pino from the Richard M. Howard Collection. The two-feather split tail is similar to that documented on pottery of Andrea Toribio Gacupin, Tomasita Shije Medina, Juana Lupita Toribio Pino, and Harviana Pino Toribio. The single wing feather is similar to that created by Reyes Galvan, Andrea Toribio Gacupin, Trinidad Medina, Reyes Gachupin Moquino Pino, and Ascenciona Pino.

So, we see that various potters used design elements also used by other potters, so it is not always easy to make an accurate attribution to a single artist, nor is it important to do so. Collectors of contemporary pueblo pottery are interested in knowing the artist who made a piece they are contemplating purchasing, but that is not an important aspect to collectors of historic pottery. It is more of concern to these collectors that the beauty of the vessel itself speaks well of a potter even though one may not know her name.

This is one of the most exquisite jars produced in the early 20th century. The deep orange coloration of the slip decorated in deep red and coal black designs could not be more striking. It displays a fine patina acquired through years of use, with a magnificent glossy sheen. The potter was not only adept at fashioning a perfect vessel she was an excellent painter of design. The combination of vessel shape, design, and patina produced a jar of warmth and beauty.

Condition: The overall condition of the jar is well above the average for a jar that is approaching 100 years old. The design is still strong and vivid. There was a lateral crack about one inch from the bottom of the jar that has now been professionally stabilized. There were no missing pieces of clay, only the crack.