Distributore benzina SHELL americano anni 50/60

4 Sedie Thonet originali anni '50 sono presenti lievi macchie sul tessuto della seduta (come in foto)

Poltrona in teak danese di Svend Age Eriksen per Glostrup 1960 Poltrona in teak danese di Svend Age Eriksen per Glostrup 1960 Stile Vintage Designer Sve...

Mobili da buffet anni '50 in palissandro, basamento marmo e ripiano in vetro Credenza grande: H88.5 x L272 x P57- H specchio 115 - Kg 120 Credenza piccola: H133 x L185 x P50 - Kg 100...

Scrivania e sedia girevole stile navale, anni '70 Scrivania in mogano stile navale, 9 cassetti, maniglie ottone dorato. Profili del ripiano in ottone dorato. Poltrona girevole in mo...

Sedie Ycami Italia struttura in alluminio anodizzato e seduta in policarbonato blu anni '80

Poltrona reclinabile vintage anni '70/'80, di Percival Lafer Stile Vintage Periodo di progettazione Dal 1970 al 1979 Periodo di produzione Dal 1970 al 1979 Anno di produzione 1970 P...

Tribe: Woodlands - Western great lakes, attributed to the Mesquakie Date: 19th century or earlier Materials: Bulrush, vegetal dyes, indigo cloth-strap tie. Dimensions: L 86" x 55" Condition: Excellent, some wear patterns, minor fading. No restoration. Comments: The intricate interlocking geometric patterns provide innumerable hourglass and diamond motifs which are the central patterns of Western Great Lakes iconography. This artist achieved an extraordinary level of sophistication in overlaying diamond/hourglass design on contrasting background colors resulting in a dynamic interplay of pulsating foreground and background. "Rush mats...

Antique circa 1875-1900 historic pueblo pottery bowl, Southwestern Native American Indian dough bowl built by hand and painted with red/orange,...

Tribe: Northwest Coast, Tlingit Date: Early to Mid 19th Century Materials: Mountain sheep horn Dimensions: L. 20 1/2" x W. 6 1/4" x D. 3" Condit...

Region / Tribe: Kansas/ Nebraska border/ Otoe-Missouria circa 1891-1895 Material: Various cloths, glass beads, cotton thread, shell disk Dimension: Diameter 10 inches, height 2 3/...

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...

A carved wooden mask originating in the Pacific Northwest Coast. The design on the face is a Native American Killer Whale or Orca motif in black and red. The title, date and the arti...