Louis Shipshee

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.

Sometimes categorized as the fourth-phase chief blanket, this wonderful piece of Navajo textile art is well preserved and can be dated to 1890-1910. Wov...

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...

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...

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...

On offer is a Navajo chief blanket of the third phase circa 1895-1920s. The chief blanket is the highest achievement of the Navajo textile develop...

An original watercolor painting by San Ildefonso (Pueblo) Native American artist, Jose Roybal (1922-1978) depicting the Pueblo Harvest Dance. Presented in ...

Handmade vintage south western leather cow hide round table mat. Cowhide patchwork handcrafted from small pieces of leather and sewn together to create a beautiful pattern in shades...

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...

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

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

Original painting by Randy Lee White Native American Indian ledger style in acrylic on canvas with assemblage including feather and wood. Wrapped canva...