Vintage Indigenous Navajo Inspired Mounted Terracotta Tile Depicting 'Yei"

This pair of vintage Inuit mukluks are presumed to have been made in Canada in circa 1950 in the Indigenous American Folk Art style. The upper portions a...

This large hand-crafted basket is unsigned, but presumed to have originated from Canada and date to approximately 1970 and done in the period indigenous Canadian...

This small hand-crafted beaded leather pouch or tobacco bag is unsigned, but presumed to have been made in the United States in approximately 1970 in an Indigenous American...

This Indigenous styled lidded basket is presumed to have been made in the United States in circa mid-late 20th century. The maker of the this basket is unknown, but done in the style...

This large Indigenous North American stone carving was done by Thomas B. Maracle of the Mohawk Nation in circa 1985 in his signature Indigenous Folk Art...

This folk art carved and polychrome painted totem pole is signed by an unknown artist and originated from the United States and dates to 1985 and d...

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 large and exceptionally well done Mid-Century Modern glass and glazed ceramic tile mosaic on walnut board depicting a Native American trio, titled “Family”. Stylized figures of ...

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...

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...

Vintage Mexican pictorial rug weaving with five Yei (Yeibichai) figures holding feathers. Woven of native hand-spun wool in natural fleece yarns ...

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...