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Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 301 / 1995 sold -
Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 302 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 303 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 304 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 305 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 306 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 307 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 308 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 309 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 310 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 311 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 312 / 1995 sold -
The bright red and black design are 2 separate weavings sewn together. This is a thick wool serape in the Navajo style. ☆☆Has some damage. ☆☆ Excerpt: During the second half of the eighteenth and first half of the nineteenth century, a number of weaving centers flourished in northern Mexico that produced brilliantly colored, finely woven wearing blankets, or serapes, for the affluent clientele of prosperous mining communities and sprawling cattle and sheep ranches. Saltillo in the state of Coahuila, more than 500 miles north of Mexico City, was the most famous of these textile manufacturing towns; its name gradually become associated with any fine blanket of the region, although other towns, including San Miguel Allende, Guanajuato, and San Luis PotosÃ, also produced good quality serapes. The origin of the serape as a distinctive item of outer clothing for men is unclear. Not indigenous to Mexico, it is nonetheless part of the textile tradition that developed in Mexico during the colonial period. Both native American and European elements went into it. In Aztec Mexico, a smaller rectangular manta, or man's wearing blanket, called tilmatli in Nahuatl, was woven on a backstrap loom and worn with the two upper corners tied together at the shoulder or at the neck. The Saltillo serape is larger and worn in different ways: over one shoulder, wrapped and draped like a shawl around the body, or as a poncho, since many have neck slits. Serapes, highly prized prestige items of clothing in Mexican society because of their fine weave, striking colors, and harmony of design, were very popular among riders of horses because of the suitability for life on horseback. Painters of the time depict vaqueros (cowboys) and horsemen wearing this colorful garment. When not in use, it was rolled and tucked behind the saddle 313 / 1995 sold -
One side has lounging man and the other a dragon. 326 / 1995 sold -
One side has lounging man and the other a dragon. 327 / 1995 sold -
One side has lounging man and the other a dragon. 328 / 1995 sold -
One side has lounging man and the other a dragon. 329 / 1995 sold -
One side has lounging man and the other a dragon. 330 / 1995 sold -
One side has lounging man and the other a dragon. 331 / 1995 sold -
One side has lounging man and the other a dragon. 332 / 1995 sold -
One side has lounging man and the other a dragon. 333 / 1995 sold -
One side has lounging man and the other a dragon. 334 / 1995 sold -
One side has lounging man and the other a dragon. 335 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 336 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 337 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 338 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 339 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 340 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 341 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 342 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 343 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 344 / 1995 sold -
This mask is decorative and can hang or sit on a shelf. 345 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 346 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 347 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 348 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 349 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 350 / 1995 sold -
Excerpt: The Kuna have been making their art works for over centuries now and are pretty skilled in it. Because they where a nomad tribe back in the days they did not make much art in forms like statues or buildings but they did decorate themselves with their artworks. This decoration is also called Mola or Molas, in Kuna this means shirt or clothing. Typical Molas consist of patterned cotton pieces of clothing. A Mola can be a skirt, scarf or t-shirt, but also a piece of arm or leg covering. The quality of a Mola is detriment on the number of layers of cotton that is used and the fineness of the stitching. Cheerful color combinations and zigzag borders are almost in every piece of Mola. These days the Kuna Indians sell their Molas to tourist but not as clothing because they don’t want tourists to wear the traditional clothing. You can buy patches of Molas for wall decoration or for pillows. 351 / 1995 sold -
Possibly Native American or South American 352 / 1995 sold -
Possibly Native American or South American 353 / 1995 sold -
Possibly Native American or South American 354 / 1995 sold -
Possibly Native American or South American 355 / 1995 sold -
Possibly Native American or South American 356 / 1995 sold -
Possibly Native American or South American 357 / 1995 sold -
Possibly Native American or South American 358 / 1995 sold -
Possibly Native American or South American 359 / 1995 sold -
Possibly Native American or South American 360 / 1995 sold -
Decorative miniature masks 361 / 1995 sold -
Decorative miniature masks 362 / 1995 sold -
Decorative miniature masks 363 / 1995 sold -
Decorative miniature masks 364 / 1995 sold -
Decorative miniature masks 365 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 366 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 367 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 368 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 369 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 370 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 371 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 372 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 373 / 1995 sold -
Excerpt: Christy was a faculty member in CSU’s Department of Art, where she taught studio courses in painting, drawing, and sculpture over her 20-year career. She also worked with the Hatton Gallery, serving as its director for five years. Christy's work is exhibited outside of Morgan Library, the large Wood Sculpture. She is also known for her intriguing and beautiful Altered Book Sculptures. 374 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 375 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 376 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 377 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 378 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 379 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 380 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 381 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 382 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 383 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 384 / 1995 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. Excerpt from Art Lab Fort Collins Past Exhibition: In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 385 / 1995 sold -
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Photos 301 - 400 of 1995
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