Native American Decorative Art

A fine vintage Pacific Northwest Native wooden carving. The carving in the form of an hawk with red, black, white, and yellow tones set on a brown wooden board. By William Wasden Jr. Wasden was trained from a very young age in numerous artistic practices of the Kwakwa̱ka̱’wakw peoples including carving, jewelrymaking, and printing. As a high schooler, he began focusing primarily on preserving traditional singing after hearing his grandfather perform. Wasden currently teaches singing in Alert Bay on Cormorant Island, British Columbia. He also heads the Gwa'wina Dancer's Cultural Society, whose mission is to spread authentic Kwakwa̱ka̱’wakw culture & teachings. In Kwakwaka'wakw art, human faces are placed strategically on animal carvings to indicate the creature's supernatural ability to transform into a human form. Kwakwaka'wakw origin myths say that their ancestors were originally animals of various kinds who discarded their animal forms and transformed into humans. Simply a wonderful piece of Pacific Northwest Native art...

Large format wall-hanging artisan sculpture, handmade of 100% raw cotton thread that comes from agave plant. It has natural dyed thread details. Its a reinterpretation of traditional...

Enoch Kelly Haney's framed signed print captures the essence of Native American artistry, blending traditional themes with contemporary expression. The piece showcases Haney's master...

Framed collection of Native American dyes used to craft weavings. Authentic collection with each dye labeled (various plants, bees, brush, bark, vegetables). Weavers have been dyeing the wool for their weavings to create beautiful artistry nearly as long as they’ve been making rugs, tapestries, throws and blankets...

"Vintage 1991 watercolor painting titled “Zuni Tradition” by Phyllis Meyer, painted in Taos, New Mexico, showing a young Native American girl and three women carrying vessels of water, all in traditional dress. “1931-2005 – A resident of Colorado Springs, who also spent the winter months in Mesa, Arizona, Phyllis Meyer was a noted plein air, impressionist landscape, and still life painter. Her landscapes are from frequent trips that she makes to New Mexico as well as Arizona and Colorado, and her subjects often include animals and farm scenes.” The Zuni are Native American Pueblo peoples native to the Zuni River valley. The Zuni are a Federally recognized tribe and most live in the Pueblo of Zuni on the Zuni River, a tributary of the Little Colorado River, in western New Mexico, United States. The Pueblo of Zuni is 55 km (34 mi) south of Gallup, New Mexico. The Zuni tribe lived in multi level adobe houses. In addition to the reservation, the tribe owns trust lands in Catron County, New Mexico, and Apache County, Arizona. The Zuni call their homeland Halona Idiwan’a or Middle Place. The word Zuni is believed to derive from the Western Keres language (Acoma) word s?^?ni, or a cognate thereof. Archaeology suggests that the Zuni have been farmers in the general area for 3,000 to 4,000 years. It is now thought that the Ancestral Zuni people have inhabited the Zuni River valley since the last millennium B.C, when they began using irrigation to farm maize on at least household-sized plots." Phyllis Meyer Southwestern Zuni Tradition New Mexico Watercolor...

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...

A magnificent American folk art headdress mask by P.J. Stover, signed, titled "Visions", circa 2008. Remarkably executed, the eclectic, sculptural mixed media wall hanging display is...

An early 20th-century high decorative American Navajo rug featuring a tribal design on a dazzling gray field. There is a light blue accent tone in the middle of the carpet Measu...

A striking Navajo Fourth Phase rug/wall hanging. Heavy, densely woven wool in a red, black and orange geometric pattern on a cream and brown/grey ground, with orange edging. Lazy lin...

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

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...