Historic Fine Art & American Indian Art Auction: to benefit a prominent children's charity*

An exceptional large Crystal Trading Post design rug; interlocking Greek key border & red buffalo hoof border; B side is somewhat faded. 132 in...

Navajo regional rug, first quarter of the 20th century; The rug has a serrated floating diamond motif which is flanked by alternating white/black serr

Navajo Pictorial Weaving, third quarter of the 20th century. Three colorful Yei figures alternate with two corn stalks on a light brown field. A ...

A Navajo Trading Post Rug, second quarter of the 20th century. A Crystal design with concentric white and red stylized diamond elements against a gray

Navajo regional rug, first quarter of the 20th century; Crystal(?) trading post design. Cross outlines, tipped with red triangles, sit on a grey field

A Navajo Pan-Reservation pound rug; c.1900. Interlocking black and grey cross motifs are framed within stepped diamonds. The design sits on a red fiel

A Navajo double saddle blanket, c. 1900; with a series of narrow bands in natural brown against a natural ivory field; woven of native handspun wool.

A Navajo Saddle blanket; first quarter of the 20th century. A central triangle-diamond-triangle motif is flanked by floating diamond and zig-zag borde

Navajo rug, c. 1925; Ganado (or possibly Crystal) Trading Post design; with a series of cross elements in red, black, and white. The design is bordere

A Navajo Pictorial Yei weaving,first quarter of the 20th century. A single Yei figure is flanked by pictorial elements against a light brown field enc

Navajo rug, second quarter of the 20th century; Optical Weaving design. Red, white and black diamonds are juxtaposed to create an optical pattern in t

A Navajo Chief's Blanket, c.1900. A Third Phase Variant with a nine-point pattern of stepped diamonds in blue, white, red and gray against a ban...

"Holy Ones Standing On Top of Holy Mountains," Plate XII. From the series, "Where the Two Came to the Father: A Navajo War Ceremony.&...

"Big Thunder Painting," Plate XVII. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, the ...

"Talking God Painting," Plate X. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, the artis...

"Rock That Claps Together," Plate III. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, th...

"Talking God Painting," Plate X. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, the arti...

"Navajo Mountain," Plate XI. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, the artist,...

"Twelve Holy People," Plate XIII. From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941, the art...

"Mountain Around Which Moving Was Done, Plate I." From the series, "Where the Two Came to the Father: A Navajo War Ceremony." ...

"Lightning Armor House, Plate VI." From the series, "Where the Two Came to the Father: A Navajo War Ceremony." From the serie...

"Hot Spring, Plate IX". From the series, From the series, "Where the Two Came to the Father: A Navajo War Ceremony." In 1941,...

Hawaiian bowl, circa 1920. The bowl is carved from a single piece of koa wood. 5 1/8 inches (height) x 8 ½ inches (diameter)

Pictorial embroidered blanket by Mable R. Jung; featuring a couple holding hands, their initials located below the figures. Also embroidered are the w

Bolivian wool blanket, mid 19th century; a black field with cochineal and indigo dyed bands. 40 inches (length) x 35 inches (width)

Hispanic panel textile; the looped cotton panel creates a circle. The seams are hand embroidered, wool with aniline dyes, last half of the 20th centur

Bolivian poncho, second quarter of the 20th century. This woolen textile has a red, brown and white banded design. 35 inches (length) x 36 inches (w

American Indian Art Magazine, vol. 18, no. 1, Winter, 1992. Plains Issue. Articles include: "DEFINING THE CENTRAL PLAINS ART AREA" b...

American Indian Art Magazine, vol. 19 No. 2, Spring, 1994 HOPI-ZUNI PROCUPINE QUILL DANCE ANKLETS by Ron McCoy Gives an overview of one of the few So

American Indian Art Magazine, Vol. 19 No. 3, Summer, 1994, NATIVE AMERICAN ARTS STUDIES ASSOCIATION ISSUE CHEYENNE SHIELDS AND THEIR COSMOLOGICAL BAC

American Indian Art Magazine, Vol. 20 No.1, Winter, 1994 INTRODUCTION by Margaret B. Blackman and Colleen Cutschall I ENJOY BEING A MOHAWK GIRL: TH

American Indian Art Magazine, vol. 1 no. 2, Spring, 1976 A MAGNIFICENT ACOMA POT by Richard M. Howard AUCTION BLOCK by Harmer Johnson LARRY GOLSH b

American Indian Art Magazine, vol. 13 no. 3, Summer, 1988 THE SPIRIT SINGS: ARTISTIC TRADITIONS OF CANADA’S FIRST PEOPLES by Julia D. Harrison Highlig

American Indian Art Magazine, vol. 14 no. 2, Spring, 1989 ZUNI BEADED DOLLS: FROM CURIO TO FOLK ART by James Ostler and Marian E. Rodee Introduces t

American Indian Art Magazine, vol. 14 no. 3, Summer, 1989 WHAT MAKES SALLY WEAVE? SURVIVAL AND INNOVATION IN NAVAJO BASKETRY TRAYS by Susan Brown Mc

American Indian Art Magazine, vol. 15 no. 1, Winter, 1989 HAPPY JACK AND HIS ARTISTRY by Dorothy Jean Ray The second article in American Indian Art M

American Indian Art Magazine, vol. 15 no. 2, Spring, 1990 38 NATURE AND SPIRIT IN CONTEMPORARY NATIVE MANITOBA PAINTING by John Anson Warner Illustra

American Indian Art Magazine, vol. 15 no. 4, Autumn, 1990 HOPI ARTIST FRED KABOTIE (1900–1986) by Ronald McCoy Offers a summary of the life of Hopi a

American Indian Art Magazine, vol. 16 no. 1, Winter, 1990 PLAINS ISSUE DEFINING THE CENTRAL PLAINS ART AREA by F. Dennis Lessard Presents an overview

American Indian Art Magazine, vol. 16 no. 2, Spring, 1991 BASKETRY REGIONS OF WASHINGTON STATE by Carolyn J. Marr Illustrates a sampling of the wrapp

American Indian Art Magazine, vol. 16 no. 3, Summer, 1991 WASCO-STYLE WOVEN BEADWORK, MERGING ARTISTIC TRADITIONS by Mary D. Schlick and Kate C. Dunc

American Indian Art Magazine, vol. 16 no. 4, Autumn, 1991 GEOLOGISTS, WHALERS AND ANTHROPOLOGISTS: THE BUILDING OF A MUSEUM COLLECTION OF INUIT CLOTH

American Indian Art Magazine, vol. 17 no. 1, Winter, 1991 WOODLANDS ARTIFACTS FROM THE STUDIO OF BENJAMIN WEST, 1738–1820 by J. C. H. King Illustrate

American Indian Art Magazine, vol. 17 no. 2, Spring, 1992 MAINTAINING THE MYTH AND MEMORY: THE ROLE OF CONSERVATION IN A NATIVE AMERICAN EXHIBITION A

American Indian Art Magazine, vol. 17 no. 4,Autumn, 1992 A CENTURY OF PLAINS INDIAN ART STUDIES by John C. Ewers Presents an overview of how the obje

American Indian Art Magazine, vol. 18 no. 2, Spring, 1993 WOODLANDS ART AS DEPICTED BY SARAH STONE IN THE COLLECTION OF SIR ASHTON LEVER by J. C. H.

American Indian Art Magazine, vol. 18 no. 4, Autumn, 1993 Jewelry Issue SOUTHWEST INDIAN JEWELRY by Lois Essary Jacka and Jerry Jacka A photo essay

American Indian Art Magazine, vol. 19 no. 1, Winter, 1993 THE CALIFORNIA CONDOR AND THE CALIFORNIA INDIANS by Craig D. Bates, Janet A. Hamber and Mar

American Indian Art Magazine, vol. 19 no. 4, Autumn, 1994 THE IMAGE WEAVERS: CONTEMPORARY NAVAJO PICTORIAL TEXTILES by Susan Brown McGreevy Written i