Antique American Indian Art, Inc.

Image 13.5"h x 10.5W Frame: 18.75"h x 15.875 Original Stickers preserved on back: "The price of this Curt-tone is $15.00 The North American Indian" and Original Description on Sticker: The Maid of Dreams

10.5" x 13.5" - Image 15" x 18" Frame Signed lower right: Curtis Original sticker at lower right on frame verso. "The price of the Curt-tone The Curtis Studio" “The Vanishing Race” was Curtis’ signature piece. It was the visual metaphor for the core conceptual underpinning of Curtis’ life’s work i.e., that Native Americans, as a culture, at least, were vanishing.

ca 1898-1900 Collectors Notes: 10/9/24 Dear Matt, Hello, I'm Joseph, Sandra's husband. I am writing to give you a history of the carving as best I can. When I was in my teen, ca 1980, my father first showed me the carving and a book about argillite carvings, history, source, and the Haida Tribe in Haida Gwaii, then the Queen Charlotte Islands. He told me my grandfather acquired the carving on one of this three trips from Pt. Townsend to the Yukon during the Gold Rush era, likely 1898-1900. I cannot pinpoint the year it was created nor the artist but it was in the era of Charles Edenshaw who wasn't in the habit of signing his work.

Corrugated neck; the design is a classic Nampeyo of the Paluluka or feathered serpent. She usually reserved the design for large storage jars since it needs space to expand on. This jar, likely made in about 1920-30 by Nampeyo and possibly painted by Fannie, has the misspelling of Nampeyo, which has been noted on other Nampeyo pottery, painted by Fannie.

The Pahlik Mana (also spelled Palhik Mana or Pahlikmana) is a revered figure in Hopi culture, representing the Butterfly Maiden Kachina. "Katchina" (or "Katsina") refers to the spiritual beings central to Hopi and other Pueblo traditions, embodying natural forces like rain, fertility, and growth. These spirits are impersonated by masked dancers during ceremonies and are also depicted in carved wooden dolls known as tihu (singular) or tithu. The Pahlik Mana specifically symbolizes renewal and life-giving elements, often associated with butterflies, corn grinding, colorful plants, and birds. She is believed to bring rain that nurtures crops and animals, making her a highly esteemed symbol of abundance and femininity.

ca 2000-2010 17" H Hand Carved from Cottonwood Root with Great Fine Carved Detail Holding a Bow and a Rattle In Very Good Condition Sam Kayquoptewa , a member of the Rabbit/Tobacco Clan, lives in the village of Hotevilla on Third Mesa on the Hopi Reservation. He is from a family of talented siblings who are basket weavers and katsina doll carvers. He is an award winning carver, having won both the 2003 and 2004 Award of Excellence in Katsina Doll Carving, Southwest Indian Art Fair, Arizona State Museum, Phoenix, Arizona. His work is in the collection of the National Cowboy & Western Heritage Museum in Oklahoma City, OK. This Big Horn, or Ram kachina (Pang), is a great example of Sam's ability as a detailer. The horns, feathers, clothing (sash is particularly well done), jewelry and rattle have all been carefully carved, as well as the hands, and fingers. His posture and anatomy add an increased level of realism to the piece.  The Ram Kachina (also called Sheep Kachina or Bighorn Sheep Kachina) is a traditional Hopi katsina (kachina) figure. In Hopi culture, katsinam are spirit beings that represent aspects of the natural world, ancestors, and forces that bring rain, fertility, and balance to the people.  The Ram Kachina participates in dances, particularly during the winter and spring ceremonies (e.g., around Powamuya/Powamu or Bean Dance). It embodies the spirit of the bighorn sheep — symbolizing endurance, sure-footedness in rugged terrain, and the provision of meat and materials for the community. Like other animal katsinam, it helps teach respect for wildlife and the natural order.

ca. 1990 5.625" + 1.25" Gap x 1.875" W Hand Crafted from Sterling Silver Large Cuff with Butterfly Maiden Pahlik Mana and Corn Motif on Sides With Makers Mark Excellent Condition Victor Coochwytewa (1922 - 2011) was one of three Native American elders chosen as Arizona Indian Living Treasures at the seventh annual AILTA award ceremony held in Phoenix in September 1994. This recognition is but one of the many accolades bestowed upon the Master Hopi Jeweler in a career spanning more than half a century. Born on June 7, 1922 at Shungopavi on Second Mesa in Northern Arizona, Victor is a member of the Waterhouse Clan. His earliest ventures in Hopi overlay jewelry began in 1940 under the tutelage of Paul Saufkie. After joining the Army during World War II, Victor found himself in the South Pacific. From the 167th Combat Military Police he transferred to the 5309th Infantry Division under General Merle’s Marauders and saw heavy combat action in the Burma area. Victor earned the Purple Heart, Good Conduct and Asiatic Ribbons. Victor CoochwytewaDischarged in 1946, he returned to the Hopi Mesas to become one of Paul Saufkie’s and Fred Kabotie’s first students in their jewelry-making classes that were just forming under the auspices of the G.I. Bill. What became known as the The Veteran’s Classes, provided opportunity for new beginnings. Victor brought to the table a unique dimension to the Hopi overlay jewelry technique that was being developed in those early days. Adapting a leather work method that he had learned, Victor began to texturize the background of his designs adding a subtle enhancement to the finished piece. This fine matting procedure remains signature to Hopi jewelry. Victor retired from silversmithing in 2006.

Late 19th Hand Crafted from Hide Leather with Glass Seed Beads and Quill Work Including a Thunderbird Motif Design in the Center with Metal Cones and Red Horse Hair Tassels and Feathers with Original "For Fred Harvey" Tag and Wax Seals Tag and Reads on Reverse Side "Sioux Saddle Bags used in Hunting and is very Old and Fine

A superb large storage basket of beautiful form in Excellent Condition.

ca 1950-60 5.5" L + 1" gap with a 3.125" tall face. 108.5 g Sterling Silver with Turquoise and Coral settings. Heavy silver work. Dan Simplicio (1917-1969) learned jewelry making from his uncle, Juan Dedios, and worked at C.G. Wallace’s trading post at Zuni, collaborating with master stonecutters such as Leekya Deyuse, Teddy Weahkee, and Leo Poblano. Simplicio was the first to use red branch coral in its natural form, and probably the first jewelry maker at Zuni to use gold. He introduced undulating leaf motifs into Zuni art, possibly inspired by European art and design he saw during his service in World War II. He is known for combining natural branch coral and turquoise with innovative designs that frequently included elaborate leaf work.

ca. 1870 Size 59.5" H x 71" W Hand-Spun Wool and Woven in Colors of Cream, Indigo, Cochineal Raveled Reds, and with repairs executed with Aniline dyed wool. Dye tests on file. Excellent Condition A Navajo Second Phase Chief's Blanket, woven between approximately 1840 and 1870, is characterized by its horizontal striped pattern, building on the simpler First Phase design. It features broad bands of Cochineal dyed red raveled wool, natural white, and dark brown or black churro wool, with the addition of fourteen Indigo rectangles or bars. These rectangles are strategically placed within the red bands introducing more vivid and complex design elements yet retaining the First Phase's minimalist stripes. These blankets were highly prized, often traded with Plains Indian tribes and worn as status symbols by leaders, though the Navajo themselves did not have chiefs. The term "Chief's Blanket" reflects their value and association with wealth and prestige. Woven by Navajo women using handspun wool on upright looms, these textiles were tightly woven for durability and warmth, sometimes taking up to a year to complete. Their cultural significance is tied to Navajo weaving traditions, believed to be guided by Spider Woman, embodying harmony and balance (hózhóó).

Gem Grade Bisbee turquoise Belt holes from 39" - 44", 48"l leather 7 Convex conchos 3 1/8" x 3 3/4 7 Butterfly's 2 7/8" h x 1 1/2"w 1 Buckle 3 1/8" x 3 3/4; 32.18oz A master work in Excellent Condition In the summer of 1972, Herbert Taylor decided to learn silversmithing as a means to buy his Olds Delta 88 a new set of tires. The decision changed his life. His sister, Anita Gene, helped him get started. He made a bracelet with five turquoise cabs, selling it for enough money to buy his tires. He was a weekend jeweler, until 1984, when he committed himself full-time. In 1988, he began working in gold. He stamped and fabricated his work by hand, using traditional techniques. Many of his gold masterpieces are set with the finest Lander Blue, Number 8 and other natural turquoise. In 1992, Dina Huntinghorse, his wife, wrote a beautiful profile on Herbert for Focus magazine. Herbert passed away, but lives on through his work. Herbert won over 100 ribbons including a “Best of Show” at the Heard Museum Show in Phoenix, AZ and Southwest Museum Show in Los Angeles, CA. Schaaf 2003

ca 1910 81" x 45" One of the great pictorials to come to market. Recently Professionally Cleaned Excellent Condition January 28, 2023 Provenance of JN Butler Collection The Janet Nelson Butler Collection was developed by her great-uncle Edward William (E.W.) Nelson (1855-1934). The Wikipedia page on E.W. Nelson states that he was an American naturalist and ethnologist. Initially Mr. Nelson’s research was in Alaska. However, he developed tuberculosis and relocated to the American Southwest in 1890. His studies ranged from Death Valley to Mexico. The Smithsonian Institution houses his collection of artifacts from the Alaska expeditions.

Hand Crafted from Sterling Silver, Leather, Horse Hair and 8 Turquoise Stones Is a Complete Set 1 Turquoise Per Concho - 2 - 1 Turquoise Naja, 5 Turquoise on Breast Plate Sterling Silver

Height includes the hanging bark. Headdress is 10x10x25. Duane (or Dwane) Pasco (May 14, 1932 – July 31, 2024) was a prominent American artist and master woodcarver specializing in Northwest Coast Indigenous-style art. Though not Native (of English and Irish descent), he dedicated his career to studying, practicing, and teaching the traditions of tribes such as the Tlingit, Haida, and others in the Pacific Northwest. Major works — Totem poles in Seattle (e.g., Occidental Park), Sitka National Historical Park (Alaska), Disney's Wilderness Lodge (Florida), and other public sites. He also carved traditional canoes (mentoring many, including for tribes like the S'Klallam) and created large installations, such as for Seattle-Tacoma International Airport.

Maria Martinez (c. 1887–1980) and her son Popovi Da (1923–1971) were renowned Tewa potters from San Ildefonso Pueblo in New Mexico. Together and with other family members, they revitalized traditional Pueblo pottery and elevated it to fine art status in the 20th century. Maria (Poveka, meaning “Pond Lily”) learned pottery-making as a child by observing elders in her pueblo. She married Julian Martinez in 1904, and they began collaborating around 1908–1910. They gained early recognition through demonstrations at world’s fairs and archaeological projects. Popovi Da (meaning “Red Fox”) was one of Maria and Julian’s sons. He served in the U.S. Army during WWII, studied art, and became a skilled painter, potter, and community leader (including multiple terms as governor of San Ildefonso Pueblo). Collaboration with Maria: He assisted from the 1940s and became her full partner around 1956. He handled painting, firing innovations, clay preparation, and marketing. Their joint work (1956–1971) is often considered some of Maria’s most creative and refined.

Tony Da (1940–2008), also known as Anthony Edward Da or Thun-Phoe-She (“Sun Dew”), was a highly innovative and influential San Ildefonso Pueblo potter, painter, and jeweler. He was the son of Popovi Da and grandson of the legendary Maria Martinez and Julian Martinez, placing him in one of the most famous artistic families in Native American pottery.

Winner: Blue Ribbon 1998 Inter-Tribal Indian Ceremonial Gallup New Mexico A: 4" H x 5 1/2" W B: 3 1/4" H x 3" W C: 3" H x 2 7/8" W D: 6" H x 5" W W/ Handle Linda Tafoya-Oyenque (now known as Linda Tafoya-Sanchez, born 1962) is a Santa Clara Pueblo potter known for her traditional carved and polished redware and blackware, often with micaceous slips and innovative designs. She belongs to one of the most celebrated pottery families in the Pueblo tradition. Born in 1962 at Santa Clara Pueblo, New Mexico, Linda is the granddaughter of the legendary potter Margaret Tafoya and the daughter of Lee and Betty Tafoya. She learned the art young (starting around age 12) from her parents and her aunt, Mary Esther Archuleta. Her father taught her forming and carving, while her mother focused on sanding and polishing. She also absorbed techniques from her renowned grandmother

ca 1920 15'4" x 8'6" Professionally Cleaned. Excellent Condition Ganado, Arizona, is one of the most iconic centers for Navajo (Diné) weaving, particularly known for large-format rugs in the classic Ganado Red regional style. Very large rugs (often room-sized or bigger) were woven there, especially in the late 19th to mid-20th century, frequently at or for the Hubbell Trading Post (established 1878 by Juan Lorenzo Hubbell).