Louis Shipshee

Early 20thc hand carved wooden Indian chiefs plaque. This is so amazing and three dimensional at the same time.

Pair of Custom Made Red Mexican Indian Weaving Pillows. Zippered casing. Featherand Down Insert.

A vintage opal Indian head carving, weighing 32.10 carats, featuring an intricate piece of lapidary artistry. Crafted from opal, a gemstone known for its iridescent play of colors, t...

A wonderfully detailed and decorated pair of miniature Kachina dolls. Signed by the artist on the base of one doll. From a collection of Native American objects and artifacts. ...

This vibrant red ground Mexican or American Indian weaving has bold colors and in great condition. The backing is in a black cotton linen and down and feather fill.

Late 20th century Native American style shoulder bag / purse / satchel. Made of soft asymmetrically cut off-white leather with decorative stitching, antique United States 1904 "India...

This original framed pastel, hand-painted Indian chief is signed E. Summer 35 and is in wonderful condition.

Imposing and Iconic: Large American Carved Cigar Store Indian Chief, Standing at 2.4 Meters Tall. This magnificent sculpture, historically used to promote tobacco, encapsulates the r...

This amazing monumental hand-carved Indian plaque is in very good as found condition. Found in a early estate in California and originally purchased in S...

"Chief Bull Aparoke" is a legendary work of art from renowned Arizona Native American artist, Bruce Law. Hand-carved from a solid trunk of a rough-hewn Ironwood tree, Chief Bull Aparoke's polished, deeply lined, life size face emerges to evoke the spirit of a stoic Indian Chief who has seen much hardship. Brass plaque beneath the face reads, "Chief Bull Aparoke Sculpture Bruce Law" and has a carved mark of two intersecting bent arrows. Measures: 16.5" high x 11" wide x 11 deep. Weighs 27 pounds. Bruce Law grew up in Phoenix, and now resides in New River, Arizona. Collectors of Bruce’s work include the honorable Barry Goldwater...

Antique Sioux (Native American/Plains Indian) Parfleche in a box form constructed of rawhide and intricately painted in an abstract design with hourglass and geometric motifs with natural pigments and red trade cloth. At the time this was created, the Sioux Indians were nomadic and are associated with vast areas of the Great Plains of the United States including present-day North and South Dakota, Minnesota, Nebraska and Montana. Authenticity is guaranteed. Box is in very good condition - please contact us for a detailed condition report. Parfleches are rawhide containers which were fundamental to the Plains way of life. Functioning essentially as protective travelling suitcases, they enabled the nomadic tribes to effectively pursue buffalo herds and migrate between seasonal camps. So critical were they to a nomadic existence that over 40 tribes are known to have historically produced parfleches. Collectively, these tribes inhabited an area which encompassed the entirety of the Plains, as well as the parts of the Southwest, the Transmontane and Western Plateau regions. Parfleches were, out of necessity, robust and versatile objects. They were designed to carry and protect within them anything from medicinal bundles to seasonal clothing or food. In fact, it was because of the containers’ robusticity and variety that parfleches earned their name in the Anglo world. Derived from parer (to parry or turn aside) and fleche (arrow), the word parfleche was coined by 17th century French Canadian voyageurs and used to describe indigenous objects made from rawhide. Despite their common utilitarian function, parfleches served as one of the major mediums through which Plains Indian tribes could develop their long-standing tradition of painting. In fact, it is in large part due to the parfleche that tribal style emerged. Even though parfleche painting developed simultaneously with beading and weaving, painting as an artistic tradition held particular importance in tribal culture. Believed to have evolved from tattooing, it had always been used as a conduit through which tribal and individual identity could be expressed. As such, many tribeswomen were deeply committed, some even religiously, to decorating their parfleche either with incised or painted motifs that were significant to them and/or the tribe. For some tribes, such as the Cheyenne, the decorative processes which surrounded parfleche production were sacred. For others, it seems that their parfleche designs shared an interesting artistic dialogue with their beadwork, indicating a more casual exchange of design motifs. This particular relationship can be seen in Crow parfleche...

Native American beadwork gauntlets with Indian Chiefs in feathered headdresses, probably souix, Ca 1880-90 Native American beadwork gauntlet...