Bronze Statue of Reclining Figures

Pair of wooden painted corbels from New Mexico circa 1940. Each measures 32 x 7 ¼ x 17 ¼ inches.

Carved and painted wooden chilkat sign made in the mid. 20th century by E. Marcus Westby (1924-2010). Presented ready to hang, dimensions measure 31 ¾ x 66 ¼ x ¾ inches. Piece is ...

An exceptional large black ware Wedding Vase form by renowned 20th century Santa Clara Pueblo potter, Margaret Tafoya (1904-2001). Hand coiled with a d...

A rare early pair of Classic Period (Pre-Reservation era) soft-soled moccasins. Constructed of native tanned hide and exquisitely beaded with trade beads. The cuffs are adorned in ri...

Created in the late 19th century, these authentic Northwest Coast Native American Indian dolls are depicted wearing traditional Athapas...

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...

Finely detailed antique bronze of three Chinese figures with a wonderful patina. A beautiful and bold conversation piece for any home. Measures: 7 3/4" H x 5" W x 2 3/4" D Delightfu...

A very fine pair of English Regency bronze whippets or greyhounds on verdi antico marble book form bases, after Thomas Weeks. Each dog sculpture is beautifully cast with their individual personalities. Clearly after, and possibly by, Thomas Weeks. These whippets are resonant of the early nineteenth-century work of Thomas Weeks (d. 1834) who established a 'Royal Mechanical Museum' or emporium in Tichbourne Street in about 1797. The attractions included various animated animals and insects, ingenious clocks, musical instruments, elaborate temples, toys and other such peculiarities that appealed to the London public in the late 18th and early 19th Century (C. Gilbert, 'Some Weeks cabinets reconsidered', The Connoisseur, May 1971...

Beautiful bronze statue of the young King Henry the Fourth. This is a 19th century copy from the original made in 1822. The sculpture has beautiful refined details and a weathered pa...

This is a pair of antique virtue figures. A French, bronze decorative female statue in Art Nouveau taste, dating to the late Victorian period, circa 1890. Delightful elegance and ap...

A bronze statue of a farrier. A male figure in bronze on a black marble base. The tools are separate parts. The bronze is signed, not decipherable by whom. The height of ...

Each figure beautifully cast and chased bronze on a Rosso Antico base.