Decorative Native American Corn Husk Bag

USA, 1890s Antique blue and orange “Nine Patch” quilt. Measures: H 200 x W 205 cm.

USA, 1920's Diorama. Sailing schooner. Measures: H 34 x W 64 x D 8 cm.

Oumar Bocoum Mali, 1990's Spectacular Malian wedding hanging. Fulani weaver Oumar Bocoum from Segou is known to have learnt his distinctive style from an earlier master Abdurraham Bura Bocoum who is thought to have pioneered the development of large scale figurative pattering on blankets that are displayed as prestige hangings for the weddings of important families...

Ghana, 1980's Asafo flag in cotton applique patterns. Fante People. Asafo Flags are created by the Fante people of Ghana. The flags are visual representations of military organisat...

Germany, 19th Century A pair of bows with handles from Kellinghusen. Ø19 cm and Ø12 cm

France, Vintage Diorama of ship. Measures: H 66 x W 71 x D 21 cm.  

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...

A stunning hand-crafted belt featuring a beautiful turquoise stone. This very decorative native belt attributed to the Shinnecock People of the United States of America would look wo...

Robert Gary Miller "Pauline" ( Indigenous Canadian 1950-) 1990 signed and numbered 7/10 artist proof lithograph. Framed and matted. See our other items for more R.G. Miller paintings. Actual size- 22.5" H x 18.5" W, framed size- 33.38 H x 28.75 W About the Artist Robert Gary Miller-Lahiaaks was born in 1950 on the six nations...

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...

Lloyd Kakepetum (1958) is a Keewaywin first nation band member who was born on the Sandy lake reserve in the far reaches of northern Ontario near the M...