Lakota Sioux Painted Buffalo Hide by Merle Locke

Northern Plains hide painting, buffalo society, pre-reservation. Two buffalo heads, two full body buffalos, two thunderbirds and buffalo sun shield in ...

Authentic and genuine 19th Century Lakota Sioux fully beaded child's bonnet. Sinew sewn with cotton calico (flour sack) lining. Made for own use. Very few made, and fewer survived. B...

Faceted Beads; Arapaho/Sioux dress on brain-tanned buffalo. Simple four color design; was probably the first dress made after quilling. Stars on dress, and...

Sioux child's moccasins. 5 1/2" brain tanned elk. Classic Sioux buffalo hoof design with yellow crosses with red faceted beads and commercial tanned elk hide. Period: circa 1940. Or...

Sioux stylized catlinite horse pipe with saddle. Has been smoked. Neat collector piece. Origin: Sioux Size: 8" L x 3" H x 3/4" W.  Family Owned & Operated Cisco’s Gallery deals in ...

19th Century Native American Sioux quilled and file-burnt stem with highly polished T bowl. Period: 19th century Origin: Sioux Size: 8" x 4 1/2", 36" ...

R. S. MACDONALD (Unknown/Unidentified Artist) - 'Raven Stealing the Sun' - Aboriginal colored pencil drawing on paper - original metal frame with single matte board and glass - title...

10 x originally designed American Indian Territory Handcraft, limited edition Collection of 10 important, detailed handcrafted Indian relics, artifacts. 1 x crazy horse, limited edition of 100, showcase 107cm x 35.5cm x 10.5cm 2 x Sioux war paint...

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

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

A parfleche container in an envelope form, finely painted in an abstract design. Makes a stunning wall hanging alone or in a grouping with other parfleche or can be placed on a shelf or Stand. This was created by a North American Indian living in the Plateau cultural area - encompassing portions of what is now northern Idaho, western Montana, northeast and central Oregon, eastern Washington and southeast British Columbia. The tribes from this region include Kalispel, Flathead, Kutenai, Palus, Coeur D'Alene and Nez Perce. 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 pair of framed prints were done by the well known Indigenous artist Patrick Amos of Nootka, British Columbia Canada in his signature West Coast Haida style. Each of the prints i...