Original Cheyenne Ledger Drawing "Initiation Day - Cheyenne Bowstring Society"

Original painting by Randy Lee White Native American Indian ledger style in acrylic on canvas with assemblage including feather and wood. Wrapped canva...

Navajo Area Rug, Two Gray Hills, Trading Post Era weaving made of wool , measures 81 ¾ x 46 ¾ inches. This textile is well suited for use on the floor a...

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...

An original watercolor painting by San Ildefonso (Pueblo) Native American artist, Jose Roybal (1922-1978) depicting the Pueblo Harvest Dance. Presented in ...

Plains Tobacco bag, circa 1850-1880, native tanned elk or buckskin with a quill work panel with pictorial cross elements, trade beads along the opening and ...

Custom Display Stand is included. This piece was created by the renowned Apache artist, Amos Gustina (1858-1945) commonly called an "Apache Fiddle," thi...

R. S. MACDONALD (Unknown/Unidentified Artist) - 'Raven Stealing the Sun' - Aboriginal colored pencil drawing on paper - original metal frame with single matte board and glass - title...

Northern Plains hide painting, buffalo society, pre-reservation. Two buffalo heads, two full body buffalos, two thunderbirds and buffalo sun shield in ...

Lakota Sioux warrior painting on buffalo hide by Merle Locke. Paint on contemporary buffalo hide. Painting of 16 warriors riding on horseback, each carrying feathered coup sticks, surrounded by geometric motifs. Captioned "Lakota On Victory" and signed by the artist at lower right corner. Merle Locke is a member of the Oglala Lakota tribe, having grown up in the Porcupine district of the Pine Ridge Indian Reservation. He is known for his ledger art paintings, evoking the style's origins amongst the Plains tribes in the 1860s. By this time, buffalo had become increasingly scarce, and the older tradition of Plains hide painting...

Pre-reservation Cheyenne dress. Hand-sewn, pieced together; blue trade cloth, ribbon-like edging, cowry shell cape on both sides. This piece without any restoration. Hard to find thi...

This fantastic rarity is in all original painted surface with the original handmade drum stick attached. The top of the drum has a painted eagle and the base has a coat of worn origi...

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...