{"title":"Fine Art - Paintings - Prints - Photos - Sculpture","description":"","products":[{"product_id":"1724-01-e-a-burbank-kiowa-aum-e-hon-o-me-tan-8-x-11-conte-crayon","title":"E.A. Burbank - Kiowa Aum-E-Hon-O-Me-Tan","description":"\u003cp\u003e\u003cspan\u003eConte Crayon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eKiowa Aum-E-Hon-O-Me-Tan \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8\"  x 11\"   \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrame 13\" x 16\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eElbridge Ayer Burbank (April 10, 1858 – March 21, 1949) was an American artist who sketched and painted more than 1200 portraits of Native Americans from 125 tribes. 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background-color: transparent; font-family: sans-serif;\"\u003e\n\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1g7jtus r-1x3r274\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-b88u0q r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eHelen Hardin\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e (Tewa name: Tsa-sah-wee-eh, meaning \"Little Standing Spruce\") was a renowned Tewa Native American painter from the Santa Clara Pueblo in New Mexico. Born on May 28, 1943, in Albuquerque, New Mexico, she passed away on June 9, 1984, at the age of 41.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1g7jtus r-1x3r274\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eShe was the daughter of two notable figures: her mother was the celebrated Santa Clara Pueblo artist \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-b88u0q r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003ePablita Velarde\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e (one of the first widely recognized Native American women painters), and her father was Herbert Hardin, a European-American (Anglo) former police officer and Chief of Public Safety. Growing up in a mixed-heritage family—raised partly at Santa Clara Pueblo and partly in the Anglo world of Albuquerque—Hardin often felt like an outsider, especially after her parents' divorce. This sense of cultural duality deeply influenced her art.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1g7jtus r-1x3r274\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eHardin showed artistic talent early. By her teens, she was already creating and selling paintings, participating in the University of Arizona's Southwest Indian Art Project, and even being featured in \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274 r-36ujnk\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eSeventeen\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e magazine before age 18. She honed her skills in high school drafting classes and later developed a distinctive style that moved beyond traditional Pueblo realism (like her mother's work) into innovative, semi-abstract, and geometric contemporary forms.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1g7jtus r-1x3r274\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eHer work often featured:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cul dir=\"ltr\" style=\"display: block; padding-inline-start: 2em; list-style-type: disc; margin-block: 0px 1.25em; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\n\u003cli style=\"font-family: sans-serif; margin-top: 0px; color: black; background-color: transparent;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eMeticulous, colorful abstractions of traditional Native motifs, such as Kachina (Katsina) figures, corn, chiefs, and other Pueblo symbols.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-family: sans-serif; margin-top: 0.5em; color: black; background-color: transparent;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eGeometric patterns and precise line work, blending ancient Pueblo imagery with modern influences.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-family: sans-serif; margin-top: 0.5em; color: black; background-color: transparent;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eThemes exploring Native American identity, daily life, struggles, and spiritual elements.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1g7jtus r-1x3r274\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eHardin became known for pushing boundaries in Native American art during the mid-20th century, creating pieces that were both rooted in heritage and forward-looking. She lived much of her adult life in Española, New Mexico, and her etchings, paintings, and drawings gained national recognition.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1adg3ll r-1x3r274 r-p1pxzi\" style=\"direction: ltr; color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3 r-1x3r274\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003e\u003cspan class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"color: black; background-color: transparent; font-family: sans-serif;\"\u003eSadly, her career was cut short by her early death in 1984. Today, her legacy endures through museum collections (e.g., Philbrook Museum of Art), gallery retrospectives, and publications. She is celebrated as a pioneering figure who helped evolve contemporary Native American art, often alongside her mother and daughter (Margarete Bagshaw, also an artist). Her pieces remain highly collectible and influential in the field.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877092319397,"sku":"1074-06","price":19500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p290_i1_w450.jpg?v=1757344769"},{"product_id":"071107-01-bill-gallen-canyon-snow","title":"Bill Gallen - Canyon Snow","description":"\u003cp\u003e\u003cspan\u003eca 2006\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on Board\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e6\" x 9\" \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eBill Gallen\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eGrowing up along the shores of Lake Michigan and wandering the woods  and fields of his native Wisconsin gave Bill Gallen an early  appreciation for the wonders of the natural world. Gallen graduated from  the University of Wisconsin-Madison in history and German and spent a  year studying in Freiburg, Germany. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eBill Gallen currently resides in New Mexico where he enjoys painting  landscapes, particularly location pieces. The eye for beauty and harmony  in nature which he developed as a child in the Midwest informs his work  with freshness and sensitivity. Gallen’s paintings are included in  private, corporate and museum collections nationwide.\u003c\/div\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877100413093,"sku":"071107-01","price":1150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p822_i2_w1000.jpg?v=1757344836"},{"product_id":"140416-01-r-c-gorman-desert-lily-c-1989","title":"R.C. Gorman Desert Lily","description":"\u003cp\u003e\u003cem\u003eOriginal Art Medium:\u003c\/em\u003e Stone Lithograph\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYear Completed:\u003c\/em\u003e 1989\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEdition Size:\u003c\/em\u003e 225\u003c\/p\u003e\n\u003cp\u003eShadow box mounted; slight bleed through of mounting tape.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877102411941,"sku":"140416-01","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p932_i7_w433.jpg?v=1757345112"},{"product_id":"140513-01-beads-n-buckskin-plains-tobacco-bag-lisa-danielle-lorimer-c-1979","title":"\"Beads 'N Buckskin\" \" Plains Tobacco Bag\", Lisa Danielle Lorimer","description":"\u003cdiv\u003eImage 14\" x 7 3\/4\"\u003cbr\u003eFrame 23 1\/2\" x 16 1\/4\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003eAcrylic on Panel \u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eArtist Statement: \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Connections amaze and inspire me.\u003cbr\u003e'To walk in beauty', as the Navajo say, is harmony; a connection to eternity through a God-given universal aesthetic that nurtures our spirit.\u003cbr\u003eMy paintings' design connects the viewer to what other hands created in beauty five decades or five millenia ago. My inspiration ranges from Old World to rustic Americana to prehistoric antiquities, though the cowboy and Indian cultures of the last century are closest to my heart. In my studio, my landscape, my world I seek a curving line, a juxtaposition of textures, a visceral excitement. Then the vision comes; my life's purpose - to bring it into being for someone yet unknown.\u003cbr\u003eDramatic light draws across a room; intimate details reward closer inspection. The connection is made; the cycle is complete.\u003cbr\u003eWe walk together in beauty.\"\u003cbr\u003e \u003cbr\u003eLisa\u003cbr\u003eSedona, Arizona Territory\u003cbr\u003e2009\u003c\/div\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877106770085,"sku":"140513-01","price":990.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/140513-01A.jpg?v=1771797676"},{"product_id":"050715-05-iroquois-portrait-c-1900-by-richard-farley","title":"Iroquois Portrait by Richard Farley","description":"\u003cp\u003eIroquois Portrait  \u003c\/p\u003e\n\u003cp\u003ePastel Painting  \u003c\/p\u003e\n\u003cp\u003eRichard B Farley (1875 - 1954)\u003c\/p\u003e\n\u003cp\u003eImage : 29\" x 18.5\" Frame: 36\" x 25.5\"\u003c\/p\u003e\n\u003cp\u003eExcellent Condition\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877106999461,"sku":"050715-05","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p1114_i7_w1141.jpg?v=1757344795"},{"product_id":"050921-28-original-pen-and-chalk-by-neil-david-hopi-b1944","title":"Original pen and chalk by Neil David, Hopi (b1944)","description":"\u003cp\u003e\u003cspan\u003ec. 1976\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrame measures 16 1\/4\" x 20 1\/4\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eImage measures 9 1\/2\" x 13\".\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNeil David Sr. is one of four Hopi artists who founded Artist Hopid. His father is from the Hopi village of Walpi and his mother came from Tewa ancestry that settled among the Hopi after the great Pueblo Revolt against the Spaniards in 1680. Once recognized for his paintings, he is now best known for his Katsina doll carvings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor the Hopi there is an order that has persevered for centuries despite a perpetual influx of foreign influences. Always struggling to explain its ancient self-contained culture to uncomprehending strangers, the Hopi way continues to survive. This survival, to a great extent, has been- made possible by individuals of strong character and art. So at ease areOther the members of this culture with drawing, painting, carving, dance and making music that the Hopi have been described as the largest artistic community in the world.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNeil David, Sr., a Hopi-Tewa artist living in the village of Hano on First Mesa in Northern Arizona, was raised knowing artistic expression as a natural human activity. From his earliest years, Neil has loved nothing more than drawing and sculpting. Always recognized for his special gift, he stands out in a culture richly populated with talented individuals. Neil has not strayed from the ethos of his people, a fact evident in his art and life.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNeil and his wife Dealva, have three sons and a daughter. Within the David family traditional Hopi values shape and mold every aspect of life. Speaking in their native tongue, the same unwritten history and legends from generations before are preserved. When combined with the visual experiences at hand, a lasting and believing attitude toward the Hopi way is engrained. Neil's children learn their culture more fully through art influenced by their father's talent.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHis art depicts Hopi ceremonial life: the stagelike settings of dwelling and plaza, the preparations for dance and the final manifestation of Kachinas, masked forms and visiting skydwellers in their villages. Neil's religious upbringing and participation has been and still is a constant source of inspiration for his art.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNeil is one of the founders of the Artist Hopid group of cultural emissaries from the Hopi to the world at large. Neil has traveled extensively throughout the United States and to the far reaches of both North and South America, demonstrating the many forms of art native to the Hopi. His efforts continue to prove most fruitful as he receives numerous awards, while his works are shown at many exhibits and are widely publicized. Neil's personal commitment to his Hopi heritage and willingness to share his culture have earned him a great deal of respect from Hopi and non-Hopi alike.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn a giant mural measuring 8 by 34 feet, Neil initiated and created with fellow artists a symbolic calendar of Hopi ceremonial life. This magnificent work can be seen in the Hopi Cultural Center. It depicts the Snake Dance Ceremony, the Women's Society Knee High Dance, the Basket Dance, the mid-winter solstice changeover from the reign of the Bear Clan to that of the Kachina Clan, Buffalo Dances, Night Dances and the summer solstice. In these Hopi ceremonials Kachinas play a vital role.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePicture of Neil David, Sr.Kachinas have survived on three levels for the Hopi; as dolls carved to instruct children in their appearance and roles in Hopi society; as masked dancers who emerge from the kivas at the appropriate times for ceremonies; and as supernatural beings whose personalities and histories have been preserved through long tradition. The Hopi people are always aware of the Kachinas who visit their mesas, interact with them and infuse their everyday events with a precious and spiritual meaning.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eExposure to the world beyond the mesas has led Neil to experiment with representing his world in other artistic media. Neil has gained considerable renown as a bronze artist for the casting he makes from his sculptures of cottonwood root, the traditional medium for Kachina dolls. He is also respected for his original graphics and lithographs. The challenge of sculpting in clay for the porcelain figurines in this series was a challenge easily met.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe porcelains in the American Indian Life and Legends Kachina series, therefore, are another extension of Neil's desire to communicate his culture's world view to others in a manner they find accessible and beautiful.\u003c\/span\u003e\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877107392677,"sku":"050921-28","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/050921-28a.jpg?v=1771798103"},{"product_id":"1582-14-dos-elegantes-by-pena-ii-viii","title":"\"Dos Elegantes\"  by Armado Pena; II\/VIII","description":"\u003cp\u003eEd: ll\/Vlll\u003c\/p\u003e\n\u003cp\u003e18\" x 24\" \u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877107916965,"sku":"1582-14","price":1150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p1123_i1_w531.jpg?v=1757345223"},{"product_id":"1592-03-pena-litho-male-pottery-1-of-2","title":"Amado Maurillo,Pena lithograph set of 2","description":"\u003cp\u003e\u003cspan\u003eFrame: 22 1\/2\" x 31 1\/2\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877107949733,"sku":"1592-03-04","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/1592-03-4a_aaa9908d-a13f-48cd-8bcc-ed13c010fad6.jpg?v=1772430096"},{"product_id":"130203-29-rc-gorman-lithograph-navajo-woman-st-i-51-75","title":"RC Gorman  Lithograph, Navajo Woman St. I, 51\/75","description":"\u003cp\u003e\u003cem\u003eOriginal Art Medium:\u003c\/em\u003e Stone Lithograph\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYear Completed:\u003c\/em\u003e 1977\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEdition: \u003c\/em\u003e 51\/75\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877132198053,"sku":"130203-29","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/130203-29_1.jpg?v=1777942301"},{"product_id":"061223-01-colored-pencil-drawing-by-master-hopi-artist-cecil-calnimptewa","title":"Colored Pencil drawing by master Hopi Artist Cecil Calnimptewa","description":"\u003cp\u003eca 2006\u003c\/p\u003e\n\u003cp\u003eThe KwaKatsina - The Eagle Kachina \u003cbr\u003eNote: please excuse the reflection in the photograph\u003c\/p\u003e\n\u003cp\u003eImage measures 13\" x 10\"\u003cbr\u003eFrame measures 21\" x 18\"\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877146681509,"sku":"061223-01","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p2250_i1_w633.jpg?v=1757344809"},{"product_id":"180708-16-ute-chief-painting-c-altonburger-sic-c-1900-chief-ouray","title":"Ute Chief Oil Painting -By C. Altonburger (sic)","description":"\u003cp\u003ec. 1900\u003c\/p\u003e\n\u003cp\u003eChief Ouray\u003c\/p\u003e\n\u003cp\u003e8 1\/4\"\" x 5 1\/2\"\"\/ 13 3\/4\"\" x 10 3\/4\"\u003c\/p\u003e\n\u003cp\u003eOne of the greatest Ute chiefs was born near Taos Pueblo in 1833 to an Uncompahgre Ute mother and a Jicarilla Apache father. Intellectual, dignified and diplomatic, Ouray spoke Spanish and English as well as the languages of his parents. He is remembered most for working to maintain peace with Whites while overcoming the problems their migration created for his and other tribes. He died in 1880.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877204025509,"sku":"180708-16","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p3938_i4_w750.jpg?v=1757345544"},{"product_id":"200818-02-armado-pena-framed-lithograph","title":"Armado Pena framed lithograph \"Los Geis\"","description":"\u003cp\u003e20\"\" x 28\"\" \/ 25\"\" x 33\"\" with frame\u003c\/p\u003e\n\u003cp\u003eEdition 40\/65; Signed\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877355610277,"sku":"200818-02","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p6002_i6_w421.jpg?v=1757345938"},{"product_id":"070419-03-tesuque-showers","title":"Bill Gallen - Tesuque Showers","description":"\u003cp\u003eMay 2006\u003c\/p\u003e\n\u003cp\u003e8\" x 10\"\u003c\/p\u003e\n\u003cp\u003eOil on Mounted Linen \u003c\/p\u003e\n\u003cp\u003e\"Painted on Location, Tesuque, NM, May 2006\"\u003c\/p\u003e\n\u003cdiv\u003eGrowing up along the shores of Lake Michigan and wandering the woods  and fields of his native Wisconsin gave Bill Gallen an early  appreciation for the wonders of the natural world. Gallen graduated from  the University of Wisconsin-Madison in history and German and spent a  year studying in Freiburg, Germany. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eBill Gallen currently resides in New Mexico where he enjoys painting  landscapes, particularly location pieces. The eye for beauty and harmony  in nature which he developed as a child in the Midwest informs his work  with freshness and sensitivity. Gallen’s paintings are included in  private, corporate and museum collections nationwide\u003c\/div\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877474197669,"sku":"070419-02","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/070419-03_1_1349eadc-7284-4d7c-bfe4-2f22097283bc.jpg?v=1771798865"},{"product_id":"201116-12-sha-la-ko-kachina-by-alex-seowtewa","title":"\"Sha' La' Ko'\" Kachina; Colored Pencil by Alex Seowtewa","description":"\u003cp id=\"wsite-com-product-title\" itemprop=\"name\"\u003eDated: 9\/12\/000   \u003c\/p\u003e\n\u003cp itemprop=\"name\"\u003e9.5\" x 7.5\" \/ 15\" x 12\"\u003c\/p\u003e\n\u003cp itemprop=\"name\"\u003eWith Artist Note on back:\u003c\/p\u003e\n\u003cp itemprop=\"name\"\u003eTitle: Sha'La;Ko', Zuni high-lighted Kachina Winter Ceremonial figure give us productive blessings.\u003c\/p\u003e\n\u003cp itemprop=\"name\"\u003eMed: Top quality colored charcoal pencils with fixative spray.  \u003c\/p\u003e\n\u003cp itemprop=\"name\"\u003eArtist: Dr. Alex Seowtewa, Master-muralist \u0026amp; artist inside the Historic Old Zuni Mission Church.  \"Our Lady of Guadalupe originally built in the year 1629. It was excavated and rebuilt from 1966 to late 1969.  Dr. Seowtewa started the Life-size Zuni Deity religious figures, (oils) (Kachinas) both inside the church walls from Febr. 1970s. With Prayers \u0026amp; Blessings, Dr. Alex Seowtewa.  \u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877524037797,"sku":"201116-11","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p8379_i16_w800.jpg?v=1757346031"},{"product_id":"211123-079-fine-art-sand-painting-aholi-kachina-kokopelli-and-pot-with-3-turquoise-by-j-david","title":"Navajo Sand Painting Aholi Kachina By J. David","description":"\u003cp\u003eLate 20th Century\u003c\/p\u003e\n\u003cp\u003e11.5\" H x 11.5\" W - Framed 14\" x 14\"\u003c\/p\u003e\n\u003cp\u003eFine Art Sand Painting Kachina, Kokopelli and Pot with 3 Turquoise by J David Depicting Aholi Kachina\u003c\/p\u003e\n\u003cp\u003eIn Very Good Condition\u003c\/p\u003e\n\u003cp\u003eAholi is the companion (Kachina Chief's Lieutenant) of Eototo during *Powamu and aids him in the task of bringing rain. While Eototo is present on all three mesas, Aholi visits only on Third Mesa.\u003c\/p\u003e\n\u003cp\u003eAholi is a beautiful kachina in his multicolored cloak and tall blue helmet but is of less importance than the very plain Eototo. On the back of his cloak is a likeness of Muyingwa, one of the Germ Gods responsible for the germination of the seeds. Aholi wears a white kilt, a sash, and a fox skin. He wears red moccasins and carries a staff or wand.\u003c\/p\u003e\n\u003cp\u003eAholi carries a wand marked with a star on the end, and as the plumed water serpent, two jars dedicated to him are painted with pointed star emblems\u003c\/p\u003e\n\u003cp\u003eAholi is the patron saint (wuya) of the Pikyas or Young Corn Clan who care for the seed corn. The colors on his cloak are said to represent the flowers and brightness of summer.\u003c\/p\u003e\n\u003cp\u003eLegend has it that the Aholi and Eototo kachinas were partners ages ago in a different land. Aholi stayed behind to fight a rear guard action, then had his throat cut to allow Eototo time to escape as leader. After many lengthy migrations throughout the Southwest, they were reunited at Old Oraibi.\u003c\/p\u003e\n\u003cp\u003eAholi's name appears to derive from the Hopi word ahulti, or \"return\" which was the promise that the departing Quetzalcoatl made his people when he fled the Toltec capital of Tula for the mythical land of Tlillan\u003c\/p\u003e\n\u003cp\u003e* The Powamu Ceremony is also called the Bean Planting Festival. It is observed in late January or early February and lasts 8 days.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":45877784084645,"sku":"211123-079","price":160.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/s725348264778838518_p11459_i24_w889.jpg?v=1757346468"},{"product_id":"original-painting-crow-mother-by-cliff-bahnimptewa","title":"Original Painting \"Crow Mother\" By Cliff Bahnimptewa","description":"\u003cp\u003eOriginal Painting \"Crow Mother\" By Cliff Bahnimptewa\u003cbr\u003eca. 1975 \u003cbr\u003eSize Image 9.25\" H x 6.5\" W Frame 16.125\" H x 12.125\" W\u003cbr\u003eHand Painting of a Feathered Masked Woman Wearing a Native Shawl in Teel, Green, Brown, Grey, Yellow, Orange, Purple, Cream and Black Colors\u003cbr\u003eExcellent Condition\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCliff Bahnimptewa (also known as Clifford Bahnimptewa, 1937–1984) was a renowned self-taught Hopi artist from the village of Old Oraibi on Third Mesa in Arizona. He was a member of the Parrot Clan and attended the Phoenix Indian School, where he developed his skills in art and carving. Bahnimptewa is best known for his detailed watercolor and tempera paintings of Hopi Katsinam (plural of Katsina, or Kachina), which depict the supernatural beings central to Hopi religion, culture, and ceremonies. These spirits represent elements of nature, ancestors, and moral guides, often appearing in dances and rituals to bring rain, fertility, and balance to the world. His works emphasize the dynamic, dancing performers rather than static dolls, showcasing intricate costumes, masks, and symbolism drawn from his deep knowledge of Hopi traditions passed down through his family, including his grandparents, who were village leaders.\u003cbr\u003eIn 1968, encouraged by Sedona trader Don Hoel, Bahnimptewa undertook an ambitious three-year project to paint all 286 Katsinam described in Harold S. Colton's seminal book Hopi Kachina Dolls with a Key to Their Identification (1949). He completed 237 of these, which were reproduced as full-color illustrations in the book Kachinas: A Hopi Artist's Documentary by Barton Wright (first published in 1973 by Northland Press, with later editions). This book serves as a comprehensive guide to Hopi Katsinam, combining Wright's anthropological commentary on their roles, attire, and ceremonies with Bahnimptewa's meticulous artwork. The paintings reflect authentic Hopi perspectives, making the book a key resource for collectors, carvers, and scholars. In 1995, American Indian Art Magazine posthumously honored Bahnimptewa as one of the greatest Native American artists in history.\u003cbr\u003eThe painting titled \"Crow Mother\" (Hopi: Angwusnasomtaqa, meaning \"mother crow\" or \"the one with crow wings attached as hair\") is one of Bahnimptewa original works from this series, featured in Kachinas: A Hopi Artist's Documentary. It illustrates the Crow Mother Katsina, a female figure considered a \"mother\" of the Katsinam and a symbol of ethical guidance and initiation. As a Katsina Mother, she embodies stately dignity, moving slowly and singing quietly during ceremonies, while also taking a more forceful role to emphasize the importance of Katsina culture to the young. She is distinct from but sometimes confused with the Crow Bride (Angwushahay-i), who performs separate functions, such as carrying trays of corn sprouts in legends about her journey as a bride.\u003cbr\u003eIn Hopi tradition, the Crow Mother appears across all three Hopi mesas, primarily during children's initiation rites (typically for ages 10–15) into Katsina beliefs, though she also participates in other events like the Powamuya (Bean Dance) ceremony in February. Her role involves distributing yucca whips for symbolic \"whippings\" (gentle strokes to impart knowledge and virtue) and receiving the same treatment herself to model humility and participation. She carries bundles of yucca blades into the kiva (ceremonial chamber), positions herself near a sand painting, and works with her \"sons\" (Hú Katsinam, or Whipper Katsinam) to oversee the ritual. Afterward, initiates receive prayer feathers and cornmeal as symbols of their new understanding. The Crow Mother teaches etiquette, morals, and virtues, reinforcing Hopi values of harmony with nature and community.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":46014544150693,"sku":"250823-038","price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/250823-038_1.jpg?v=1771794813"},{"product_id":"kiowa-painting-by-mopope","title":"Kiowa Painting By Mopope","description":"\u003cp\u003eca. 1910\u003c\/p\u003e\n\u003cp\u003e17.75\" H x 14.75\" W\u003c\/p\u003e\n\u003cp\u003eHand Painted of an Indian Sitting next to a Fire and Framed Behind Glass\u003c\/p\u003e\n\u003cp\u003eIn Very Good Condition\u003c\/p\u003e\n\u003cp\u003eStephen Mopope (1898–1974), also known as Qued Koi or \"Painted Robe,\" was a prominent Kiowa artist from Oklahoma. He was a key member of the Kiowa Six (or Kiowa Five\/Six), a groundbreaking group of early 20th-century Native American painters who helped develop the flat-style ledger art into modern Native American painting. Mopope was prolific, creating works that depicted Kiowa culture, ceremonies, dances, warriors, flute players, and daily life, often in a distinctive flat, bold, and colorful style influenced by traditional hide painting and ledger art.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":47493463310501,"sku":"1613-09","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/1613-09_1.jpg?v=1770929995"},{"product_id":"landscape-painting-by-john-william-will-vawter","title":"Landscape Painting by John William 'Will' Vawter","description":"\u003cdiv\u003e\u003cspan\u003eLandscape Painting by John William 'Will' Vawter (IN, 1871-1941)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSigned Will Vawter; painting in excellent condition, with period frame, depicting a rural  Brown County landscape.  Cleaning and conservation by Grashe Fine Art Restorers, Bellevue, WA January 2024. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eBiography\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eJohn William Vawter, better known as Will Vawter was born in Boone County, West Virginia on April 13, 1871.  He was mostly a self-taught artist, but did attend the John Heron Art Institute in Indianapolis and the Art Students League in New York.  He first started doing illustrations for the Indianapolis Sentinel in 1891 and soon appeared in many other newspapers and magazines.  He also worked on a children’s book, “The Rabbit’s Ransom” with his sister.  He then met James Whitcomb Riley in 1893 and became his illustrator for the next thirty years. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eDuring his time working with James Whitcomb Riley, he met Mary H. Murray.  She was interested in James at first, but when she realized he did not return the feelings, she turned her attention to Will Vawter.  They were married around 1906.  As a result of working so closely with James Whitcomb Riley, Will began picking up some of his bad habits including drinking.  Mary decided to do something about it and when she discovered that alcohol was not sold legally in Brown County, she moved them there.  They purchased 57 acres in 1908 on Town Hill, a half mile south of Nashville.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe local residents loved Will, but they did not accept Mary.  They saw her as “eccentric and bitter” (Letsinger-Miller, 38).  She filed many lawsuits against anyone who offender her in any way.  Will threatened to leave her if she continued to file lawsuits.  In 1923, he divorced her.  She kept the farm and he rented two rooms in downtown Nashville.  He used one room for his living quarters and the other for his studio.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWill became interested in oil painting and was soon as accomplished at oil painting as he was at illustrating and print-making.  He won many prizes and the Hoosier Salon and had his own exhibit there in 1932.  His new studio became a great tourist attraction and onlookers constantly were watching him at work.  Finally he began locking the door to keep them out so he could concentrate on his work. He also began painting from inside his car so he could work in peace away from people watching him.  He used the ceiling of the car to clean out his paint brushes while he worked.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWill soon began spending time with long-time friend Ola Genolin who was the town’s first druggist’s widow.  Many of his friends were afraid he would let her get away, so they sort-of conned him into proposing to her.  They were married in September 1923.  They built a studio and home northeast of town and traveled frequently while Will kept on painting.  He loved the movie Snow White and the Seven Dwarfs and went to see if seven times at the Nashville movie house. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWill Vawter was great with kids, but never had any of his own.  He often played checkers and chess at Miller’s drug store in Nashville.  Then in 1926, when T.C. Steele died, Will was the one who took Steele’s ashes to his burial site.  He was well loved by all and was a charter member for the Brown County Art Gallery Association.  His death was quite a shock to the residents of Peaceful Valley.  John William Vawter died suddenly of pneumonia on February 11, 1941. \u003c\/span\u003e\n\u003c\/div\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":47582461362341,"sku":"220816-01","price":38500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/IMG_1616a.jpg?v=1773198888"},{"product_id":"northwest-sketch-by-dwane-pasco","title":"Northwest Sketch By Duane Pasco","description":"\u003cp\u003eMid\/Late 20th Century\u003c\/p\u003e\n\u003cp\u003e14\" H x 10.625\" W - Frame 22.25\" H x 17.875\" W\u003c\/p\u003e\n\u003cp\u003eHand Drawn and Framed with a Wood Frame and Behind Glass Signed Duane Pasco\u003c\/p\u003e\n\u003cp\u003eIn Excellent Condition\u003c\/p\u003e\n\u003cp\u003eABOUT THE ARTIST\u003c\/p\u003e\n\u003cp\u003eDuane Pasco (born May 14, 1932) is an American artist. He is known for his indigenous-style work and as a teacher of Northwest Coast art, in particular as a key contributor to reviving the 'Ksan style.\u003c\/p\u003e\n\u003cp\u003ePasco was raised in Alaska and Seattle, and is of English and Irish descent. He has been professionally active since his first gallery showing in 1966, working in both carving and two-dimensional formats. In 1967, he took a leave of absence from his then-employment for a steel-construction company, in order to move beyond what he describes as making \"curios\" and pursue art education full-time. He again made a major change in approach in 1976. At both these times, he was heavily influenced in his artistic development by the writings and works of artist and historian Bill Holm. He has taught classes at many universities and schools in Washington, British Columbia, and Alaska, notably the Gitanmaax School of Northwest Coast Indian Art ('Ksan), where he influenced artists such as Walter Harris. He is a friend and associate of Nuu-Chah-Nulth artist Joe David. Pasco is a noted canoe carver, mentoring novice canoe carvers and actively assisting them in the steaming process.\u003c\/p\u003e\n\u003cp\u003eHis carved totems are publicly viewable in Seattle at Occidental Park and Seattle Center,and in Sitka, Alaska at Sitka National Historical Park.\u003c\/p\u003e\n\u003cp\u003eHe is a speaker and expounder of Chinook Jargon. In the early 1990s he published the bi-monthly Tenas Wawa newsletter in Poulsbo, Washington,where he continues to live.\u003c\/p\u003e\n\u003cp\u003eFrom Artists Website\u003c\/p\u003e\n\u003cp\u003eI spent my childhood in Alaska and my school years in Seattle, until being drafted in 1952. After two years serving with the army in Korea, I returned to Washington, and worked variously as a warehouseman, Boeing machinist, cabinet maker, house framer, and then structural iron worker.\u003c\/p\u003e\n\u003cp\u003eBy 1967, I had been carving curios part-time for a few years. I took a leave of absence from work and managed to eke out a living by producing and selling what I thought was “traditional” Northwest Coast Native Art.\u003c\/p\u003e\n\u003cp\u003eI was getting some pretty good commissions during the early 1970s thanks to a “renaissance” of sorts in this art form, but in 1976 I seriously considered moving on. A long-time interest in traditional Norwegian small boats took me to Norway, where I took lines of a few lap-strake boats, as well as many photographs. I was ready to embark on a new career. However, during the trip my wife and I visited the Sacred Circles exhibit at the Tate in London. This fantastic array of pre-twentieth century Native American art included a large number of which were chosen Northwest coast pieces. Captivated and inspired, I couldn’t wait to return home and launch myself onto a program of re-education.\u003c\/p\u003e\n\u003cp\u003eI literally put everything that I thought I knew into the trash and emptied it. I began visiting museums and their store rooms. Bill Holm, author of the extremely helpful Northwest Coast Indian Art, an Analysis of Form, was generous enough to allow me to make copies of his vast collection of slides and I began a serious examination of old pieces, trying to relate works to particular Native artists from the eighteenth and nineteenth centuries. I continue to learn about many regional and individual styles of this world-class art form, and it’s always exciting.\u003c\/p\u003e\n\u003cp\u003eABOUT THE MATERIALS\u003c\/p\u003e\n\u003cp\u003eTo understand wood, the primary raw material for Northwest Coast Native Art, one must understand the forest.\u003c\/p\u003e\n\u003cp\u003eThe ecosystem of the Pacific Northwest forest offers a spectacular variety of coniferous and deciduous trees, numerous shrubs, mosses, lichens, and fungi, and innumerable large and small mammals, birds, reptiles, amphibians, insects, and more—all interdependent.\u003c\/p\u003e\n\u003cp\u003eThe Northwest Coast Natives knew their forests well because their existence depended on it. They understood which materials to use for houses, canoes, weaving, cordage, dyes or food, as well as where, when, and how to procure and process them.\u003c\/p\u003e\n\u003cp\u003eABOUT THE TOOLS\u003c\/p\u003e\n\u003cp\u003eI like to say, “There’s no tool like an old tool” because the road to improved technology is often littered with simple but useful things that get the job done well. When I began carving, I automatically looked to commercial carving tools like chisels, gouges, mallets, and saws—in addition to my pocket knife. Then I read about the traditional tools used by the Northwest Coast Natives, and decided to make some facsimiles. I started with a “D” adze, a straight knife, and a couple of curved knives, with blades ground from old files. Years later I saw some examples of the “real” thing and headed back to the tool bench. My next set of tools was much improved as was my ability to carve more effectively.\u003c\/p\u003e\n\u003cp\u003eThe twenty-first century carver of Northwest Coast Native-style art takes advantage of any modern tool that is practical, such as factory-made chisels and gouges, hand saws, and the trusty chainsaw for larger work. But the bulk of the work is still done with the traditional adze and knife, which I make myself.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":47634680643749,"sku":"240419-08","price":500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/240419-08_1_67f717eb-f8b1-490e-8bcd-19ee06df512a.jpg?v=1773948921"},{"product_id":"northwest-sketch-by-duane-pasco","title":"Northwest Sketch By Duane Pasco","description":"\u003cp\u003eMid\/Late 20th Century\u003c\/p\u003e\n\u003cp\u003e14\" H x 10.625\" W - Frame 22.25\" H x 17.875\" W\u003c\/p\u003e\n\u003cp\u003eHand Drawn and Framed with a Wood Frame and Behind Glass Signed Duane Pasco\u003c\/p\u003e\n\u003cp\u003eIn Excellent Condition\u003c\/p\u003e\n\u003cp\u003eABOUT THE ARTIST\u003c\/p\u003e\n\u003cp\u003eDuane Pasco (born May 14, 1932) is an American artist. He is known for his indigenous-style work and as a teacher of Northwest Coast art, in particular as a key contributor to reviving the 'Ksan style.\u003c\/p\u003e\n\u003cp\u003ePasco was raised in Alaska and Seattle, and is of English and Irish descent. He has been professionally active since his first gallery showing in 1966, working in both carving and two-dimensional formats. In 1967, he took a leave of absence from his then-employment for a steel-construction company, in order to move beyond what he describes as making \"curios\" and pursue art education full-time. He again made a major change in approach in 1976. At both these times, he was heavily influenced in his artistic development by the writings and works of artist and historian Bill Holm. He has taught classes at many universities and schools in Washington, British Columbia, and Alaska, notably the Gitanmaax School of Northwest Coast Indian Art ('Ksan), where he influenced artists such as Walter Harris. He is a friend and associate of Nuu-Chah-Nulth artist Joe David. Pasco is a noted canoe carver, mentoring novice canoe carvers and actively assisting them in the steaming process.\u003c\/p\u003e\n\u003cp\u003eHis carved totems are publicly viewable in Seattle at Occidental Park and Seattle Center,and in Sitka, Alaska at Sitka National Historical Park.\u003c\/p\u003e\n\u003cp\u003eHe is a speaker and expounder of Chinook Jargon. In the early 1990s he published the bi-monthly Tenas Wawa newsletter in Poulsbo, Washington,where he continues to live.\u003c\/p\u003e\n\u003cp\u003eFrom Artists Website\u003c\/p\u003e\n\u003cp\u003eI spent my childhood in Alaska and my school years in Seattle, until being drafted in 1952. After two years serving with the army in Korea, I returned to Washington, and worked variously as a warehouseman, Boeing machinist, cabinet maker, house framer, and then structural iron worker.\u003c\/p\u003e\n\u003cp\u003eBy 1967, I had been carving curios part-time for a few years. I took a leave of absence from work and managed to eke out a living by producing and selling what I thought was “traditional” Northwest Coast Native Art.\u003c\/p\u003e\n\u003cp\u003eI was getting some pretty good commissions during the early 1970s thanks to a “renaissance” of sorts in this art form, but in 1976 I seriously considered moving on. A long-time interest in traditional Norwegian small boats took me to Norway, where I took lines of a few lap-strake boats, as well as many photographs. I was ready to embark on a new career. However, during the trip my wife and I visited the Sacred Circles exhibit at the Tate in London. This fantastic array of pre-twentieth century Native American art included a large number of which were chosen Northwest coast pieces. Captivated and inspired, I couldn’t wait to return home and launch myself onto a program of re-education.\u003c\/p\u003e\n\u003cp\u003eI literally put everything that I thought I knew into the trash and emptied it. I began visiting museums and their store rooms. Bill Holm, author of the extremely helpful Northwest Coast Indian Art, an Analysis of Form, was generous enough to allow me to make copies of his vast collection of slides and I began a serious examination of old pieces, trying to relate works to particular Native artists from the eighteenth and nineteenth centuries. I continue to learn about many regional and individual styles of this world-class art form, and it’s always exciting.\u003c\/p\u003e\n\u003cp\u003eABOUT THE MATERIALS\u003c\/p\u003e\n\u003cp\u003eTo understand wood, the primary raw material for Northwest Coast Native Art, one must understand the forest.\u003c\/p\u003e\n\u003cp\u003eThe ecosystem of the Pacific Northwest forest offers a spectacular variety of coniferous and deciduous trees, numerous shrubs, mosses, lichens, and fungi, and innumerable large and small mammals, birds, reptiles, amphibians, insects, and more—all interdependent.\u003c\/p\u003e\n\u003cp\u003eThe Northwest Coast Natives knew their forests well because their existence depended on it. They understood which materials to use for houses, canoes, weaving, cordage, dyes or food, as well as where, when, and how to procure and process them.\u003c\/p\u003e\n\u003cp\u003eABOUT THE TOOLS\u003c\/p\u003e\n\u003cp\u003eI like to say, “There’s no tool like an old tool” because the road to improved technology is often littered with simple but useful things that get the job done well. When I began carving, I automatically looked to commercial carving tools like chisels, gouges, mallets, and saws—in addition to my pocket knife. Then I read about the traditional tools used by the Northwest Coast Natives, and decided to make some facsimiles. I started with a “D” adze, a straight knife, and a couple of curved knives, with blades ground from old files. Years later I saw some examples of the “real” thing and headed back to the tool bench. My next set of tools was much improved as was my ability to carve more effectively.\u003c\/p\u003e\n\u003cp\u003eThe twenty-first century carver of Northwest Coast Native-style art takes advantage of any modern tool that is practical, such as factory-made chisels and gouges, hand saws, and the trusty chainsaw for larger work. But the bulk of the work is still done with the traditional adze and knife, which I make myself.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":47634697191589,"sku":"240419-09","price":500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/240419-09_1_2e172ab0-52b1-4bfa-b84c-72c742c35b6c.jpg?v=1773948966"},{"product_id":"northwest-sketch-by-duane-pasco-1","title":"Northwest Sketch By Duane Pasco","description":"\u003cp\u003eMid\/Late 20th Century\u003c\/p\u003e\n\u003cp\u003e14\" H x 10.625\" W - Frame 22.25\" H x 17.875\" W\u003c\/p\u003e\n\u003cp\u003eHand Drawn and Framed with a Wood Frame and Behind Glass Signed Duane Pasco\u003c\/p\u003e\n\u003cp\u003eIn Excellent Condition\u003c\/p\u003e\n\u003cp\u003eABOUT THE ARTIST\u003c\/p\u003e\n\u003cp\u003eDuane Pasco (born May 14, 1932) is an American artist. He is known for his indigenous-style work and as a teacher of Northwest Coast art, in particular as a key contributor to reviving the 'Ksan style.\u003c\/p\u003e\n\u003cp\u003ePasco was raised in Alaska and Seattle, and is of English and Irish descent. He has been professionally active since his first gallery showing in 1966, working in both carving and two-dimensional formats. In 1967, he took a leave of absence from his then-employment for a steel-construction company, in order to move beyond what he describes as making \"curios\" and pursue art education full-time. He again made a major change in approach in 1976. At both these times, he was heavily influenced in his artistic development by the writings and works of artist and historian Bill Holm. He has taught classes at many universities and schools in Washington, British Columbia, and Alaska, notably the Gitanmaax School of Northwest Coast Indian Art ('Ksan), where he influenced artists such as Walter Harris. He is a friend and associate of Nuu-Chah-Nulth artist Joe David. Pasco is a noted canoe carver, mentoring novice canoe carvers and actively assisting them in the steaming process.\u003c\/p\u003e\n\u003cp\u003eHis carved totems are publicly viewable in Seattle at Occidental Park and Seattle Center,and in Sitka, Alaska at Sitka National Historical Park.\u003c\/p\u003e\n\u003cp\u003eHe is a speaker and expounder of Chinook Jargon. In the early 1990s he published the bi-monthly Tenas Wawa newsletter in Poulsbo, Washington,where he continues to live.\u003c\/p\u003e\n\u003cp\u003eFrom Artists Website\u003c\/p\u003e\n\u003cp\u003eI spent my childhood in Alaska and my school years in Seattle, until being drafted in 1952. After two years serving with the army in Korea, I returned to Washington, and worked variously as a warehouseman, Boeing machinist, cabinet maker, house framer, and then structural iron worker.\u003c\/p\u003e\n\u003cp\u003eBy 1967, I had been carving curios part-time for a few years. I took a leave of absence from work and managed to eke out a living by producing and selling what I thought was “traditional” Northwest Coast Native Art.\u003c\/p\u003e\n\u003cp\u003eI was getting some pretty good commissions during the early 1970s thanks to a “renaissance” of sorts in this art form, but in 1976 I seriously considered moving on. A long-time interest in traditional Norwegian small boats took me to Norway, where I took lines of a few lap-strake boats, as well as many photographs. I was ready to embark on a new career. However, during the trip my wife and I visited the Sacred Circles exhibit at the Tate in London. This fantastic array of pre-twentieth century Native American art included a large number of which were chosen Northwest coast pieces. Captivated and inspired, I couldn’t wait to return home and launch myself onto a program of re-education.\u003c\/p\u003e\n\u003cp\u003eI literally put everything that I thought I knew into the trash and emptied it. I began visiting museums and their store rooms. Bill Holm, author of the extremely helpful Northwest Coast Indian Art, an Analysis of Form, was generous enough to allow me to make copies of his vast collection of slides and I began a serious examination of old pieces, trying to relate works to particular Native artists from the eighteenth and nineteenth centuries. I continue to learn about many regional and individual styles of this world-class art form, and it’s always exciting.\u003c\/p\u003e\n\u003cp\u003eABOUT THE MATERIALS\u003c\/p\u003e\n\u003cp\u003eTo understand wood, the primary raw material for Northwest Coast Native Art, one must understand the forest.\u003c\/p\u003e\n\u003cp\u003eThe ecosystem of the Pacific Northwest forest offers a spectacular variety of coniferous and deciduous trees, numerous shrubs, mosses, lichens, and fungi, and innumerable large and small mammals, birds, reptiles, amphibians, insects, and more—all interdependent.\u003c\/p\u003e\n\u003cp\u003eThe Northwest Coast Natives knew their forests well because their existence depended on it. They understood which materials to use for houses, canoes, weaving, cordage, dyes or food, as well as where, when, and how to procure and process them.\u003c\/p\u003e\n\u003cp\u003eABOUT THE TOOLS\u003c\/p\u003e\n\u003cp\u003eI like to say, “There’s no tool like an old tool” because the road to improved technology is often littered with simple but useful things that get the job done well. When I began carving, I automatically looked to commercial carving tools like chisels, gouges, mallets, and saws—in addition to my pocket knife. Then I read about the traditional tools used by the Northwest Coast Natives, and decided to make some facsimiles. I started with a “D” adze, a straight knife, and a couple of curved knives, with blades ground from old files. Years later I saw some examples of the “real” thing and headed back to the tool bench. My next set of tools was much improved as was my ability to carve more effectively.\u003c\/p\u003e\n\u003cp\u003eThe twenty-first century carver of Northwest Coast Native-style art takes advantage of any modern tool that is practical, such as factory-made chisels and gouges, hand saws, and the trusty chainsaw for larger work. But the bulk of the work is still done with the traditional adze and knife, which I make myself.\u003c\/p\u003e","brand":"Antique American Indian Art","offers":[{"title":"Default Title","offer_id":47634699485349,"sku":"240419-10","price":500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0718\/6071\/5685\/files\/240419-10_1_f1878c67-37ac-4531-9335-0ba25467aebc.jpg?v=1773949002"},{"product_id":"kiowa-guash-painting-by-acee-blue-eagle","title":"Kiowa Gouache Painting By Acee Blue Eagle","description":"\u003cp\u003eca. 1930 - 1935\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e9.375\" H x 5.375\" W - Image, 14.8125\" H x 11.8125\" W - Frame\u003c\/p\u003e\n\u003cp\u003eHand Painted of an Indian Woman Holding a Large Flat Bowl Dressed in a Leather Dress with Decorations and Glass Seed Beads with her Hair in Two Wrapped Pig Tails\u003c\/p\u003e\n\u003cp\u003eIn Very Good Condition\u003c\/p\u003e\n\u003cp\u003eAcee Blue Eagle, a prominent Kiowa artist known for his contributions to Native American art, painted works in the distinctive Kiowa flat style, characterized by sharp contours, flat areas of color, and the absence of backgrounds.  Born Alex C. McIntosh in 1907 near Anadarko, Oklahoma, he was a key figure in the Kiowa Six, a group of artists who helped define 20th-century Native American painting.  His works often depicted traditional Kiowa themes such as ceremonial dances, spiritual figures, and cultural narratives, blending traditional imagery with contemporary stylization. \u003c\/p\u003e\n\u003cp\u003eOne notable painting attributed to him is Woman Making Baskets, part of a collection of New Deal-era easel paintings. He also created murals for public buildings, including a famous mural on the U.S.S.  Oklahoma, and painted for the Works Progress Administration (WPA) during the 1930s.  His art was exhibited widely, including at the Rockefeller Center and the Museum of Modern Art, and he was recognized as the \"Outstanding Indian in the United States\" in 1958. \u003c\/p\u003e\n\u003cp\u003eBlue Eagle's legacy extends beyond painting—he was a lecturer, teacher, television host, and author, using his platform to share Native American culture. He died in 1959, but his works remain in major collections, including the Gilcrease Museum, Denver Art Museum, and the Smithsonian Institution.\u003c\/p\u003e\n\u003cp\u003eAcee Blue Eagle's Kiowa flat style was inspired by a blend of Plains hide painting, ledger art traditions, and the broader Flatstyle movement associated with the Kiowa Six and Bacone School.  Although Blue Eagle was of Creek and Pawnee heritage—not Kiowa—he adopted and adapted the flat style through exposure to Kiowa artistic influences, particularly during his studies at Bacone Indian College and the University of Oklahoma under Oscar B. Jacobson, a key mentor to Native artists. \u003c\/p\u003e\n\u003cp\u003eHis work reflects bold outlines, solid color fields, minimal backgrounds, and narrative depictions of Native life, drawing from oral traditions, ceremonial dances, and cultural symbolism.  While not rooted in Kiowa heritage himself, Blue Eagle was influenced by the Pan-Indian artistic environment of early 20th-century Oklahoma, where the flat style emerged as a modern expression of Indigenous identity, bridging traditional forms like ledger art with contemporary media and techniques. \u003cbr\u003eOscar B. 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