Antique Northwest Coast/Native American TOTEM Pole, Tlingit, 19th Century

Totem Pole, carved wood, titled Shark Mother by Duane Pasco, vintage Northwest Coast art, circa 1965-1975. The design echoes a traditional Northwest Coast House Post, imagery includes a stylized Dogfish Shark (Squalidae) with a fetus in the womb - this alludes to the traditional Dogfish totem and the continuity of it's clan. Measure: 8' height. Duane Pasco grew up in Alaska and Seattle, Washington. He began carving Northwest Coast Native...

Antique 19th century Native American (Plains Indian) roach headdress made with dyed deer hair and porcupine guard hair on a u-shaped braided cloth with...

Constructed of native tanned hide with trade beads and horse hair, this doll is wearing a traditional period dress and moccasins. A nomadic tribe, the Sioux territory included parts...

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...

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 plains Indian roach “Headdress or Hair Ornament”. Custom display stand is included. Dimensions without stand measures 15 x 15 x 16 inches. Height with s...

Northwest coast cedar TOTEM. Signed in pencil on back, "Susan Peters." We assume a former owner. Base is contemporary, almost matching totems. Carved o...

Complex Multifigure Tlingit Totem Pole from Sitka, Alaska. This larger red cedar model totem pole was carved by a Tlingit artist from Sitka, Alaska. The ...

This Indigenous American totem pole was done by the renowned master carver John T. Williams of the United States in approximately 1960 in his signa...

This hand-carved cedar totem is signed by an unknown artist and presumed to have originated from Canada and dating to approximately 1960 and done in the West Coast Indigenous Haida s...

PERIOD: Mid 20th Century ORIGIN: Northwest - Tlingit, Native American SIZE: 10 1/2"H x 4 1/2" x 2" Family Owned & Operated Cisco’s Gallery deals in the rare, exceptional, and one-o...

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...