Fabric Decorative Bowls

Decorative Bowl #807 by Karen Gayle Tinney Hand formed stoneware bowl with white glaze. Woven white cotton edge detail. For decorative use only. 14"W x 6”H One of a kind collectio...

Hand formed stoneware bowl with satin black glaze. Woven white cotton edge detail. For decorative use only. 11"W x 6”H One of a kind collections are released periodically throughou...

Hand formed stoneware bowl with gray glaze. Woven light gray cotton edge detail. For decorative use only. 7"W x 7.5”H One of a kind collections are released periodically throughout...

Hand formed stoneware bowl with brown glaze. Woven navy cotton edge detail. For decorative use only. 13"W x 5.5”H One of a kind collections are released periodically throughout the...

Rare model of a milk can alpaca vienna around 1950s Polished

Custom Pleated Lamp Shade. Bottom Diameter: 12" Top Diameter: 8" Height: 11"

Simple and sturdy woven basket in a rectangular design. Dark Grey, natural un-dyed wool is accented with leather handles. Handle color options are brown, black and natural. Designed by Meredith Thayer in her South Boston...

Great used condition. This fine hand carved dough bowl with handles has a wonderful worn patina. This bowl comes with ten cotton rag balls from Pennsylvania.

Cotta alien 2 by Decio Studio. Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a fant...

Cotta vessel by Decio Studio. Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a fanta...

Cotta vase tripod by Decio Studio. Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a ...

This perfum bottle is an original Art Deco piece. We can find the expression of Art Deco style in this perfum bottle at a high level and the result is a great elegance. The part in s...

This piece is up-cycled. When I found this bowl I knew it would be perfect for the idea I had. My vision was to create a flower inside the bowl that would live forever. So, I cut off...

What makes this piece unique is well.... everything! First, this piece is up-cycled, which means I liked the shape but it needed to be rescued. The rescue plan included 22K leaf which is from Manetti of Florence. This color is Rosenoble. It is made of 92%Gold8%Copper all noble metals. Next I used Artist's canvas fabric and made the Cally-Lily petals which were embossed by my flower Artisan. Both the bowl and the petals were given to the next Artisan. This is a French gilder with 25 years of experience of working on outdoor sculptures to interior restorations of the most important buildings in NYC as well as along the East Coast. After the bowl and petals were leafed, it was then transported covered in a wool/cotton batting for protection. At this stage a top coat is applied 2-3 times as needed for surface protection. Once this had dried it was ready to commence with the crystal application called pave. This is setting the crystals as close together as possible. My next Artisan has 28 years experience working in the technique of Pave. This was done with 3 colors, of the best crystals made in the world. These are Light Rose, Light Siam and Hyacinth all with the Aurora Borealis treatment. These 3 colors blended together have a magical quality sparkling in a majestic and mystical way. After the pave work was finished Ostrich feathers were sporadically placed inside.The flutter of the feathers by the slightest movement causes them to dance. This is easily transported in your home for your own rotating Art show. The main photo the bowl was shot on it's side which is the position I like best. All positions work as well. Imagine this on your make up dresser...

Working from ceramics as a broad discipline that includes design, sculpture and painting, this work belongs to a collection of objects in which the forceful volumetries dialogue with...

Known as the O-bowl, this contemporary 3D printed satin black PA12 Nylon bowl decorated with dice is a great decorative bowl and centrepiece that can also be used as a gaming tray. This intricate object of unique design by Alexandre Arrechea was created during the Layers project, a collaboration with SoShiro gallery. This piece is one of the four objects in the 3D printed Estadios series (Solitario, Snooker Triangle, X-Tray, and O-Bowl) inspired by the playful themes of the Layers collection. There is a distinct relation to the urban social nightlife of Havana, with the inclusion of existing and relatable elements, such as the snooker ball...

Broached monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenou...

The contemporary textile designer Inês Schertel manufactures versatile items using a six thousand year old technique. Each piece is unique in color and form and are not woven as text...

Broached monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenous myths, including post-colonial myths and precolonial dreaming stories, and non-indigenous Australian myths, including the bush legend, ANZAC tradition and convict legend, focus on the historical role that the race of authorship has played in building the nation. However, a contemporary understanding of Australian history acknowledges the contribution of both Indigenous and non-indigenous Australians in forging the nation, and the national identity which accompanies it. Instead of perpetuating the same exclusive national myths, perhaps Australians should adopt a national mythology that acknowledges this inclusive understanding of Australian history, a mythology that unites Australians of many backgrounds under a shared Australian identity. In his book on Australia’s Folklore of Fear, Robert Holden explores pre-colonial ideas of Australia as a Great Southern Land – an imaginary landmass conjured up to counterbalance the continents in the northern hemisphere, as far removed as possible from Britain, the center of the Christian world (Holden, 2001). Holden speaks of Australia as an imaginary world, occupied by unimaginable creatures and monsters. Holden is commenting in part on the mythical creatures that originated in both British and Aboriginal Australian folklore and were shared by the Aboriginal and non-Aboriginal inhabitants of Sydney during the early years of colonisation. Stories of the yahoo, a creature that resembled a slender man, with long white straight hair, extraordinarily long arms and great talons (Unknown 1842), captured the imaginations of the new British settlers, and soon a fear of the yahoo became a common ground between Aboriginal people and British settlers. is fear of a gruesome and vicious creature gained its potency from the folkloric tales that were used to substantiate its existence. These tales were suitably vague, their lack of detail attributed to the fierce nature of these creatures and the assumption that no one had survived an encounter (Holden, Thomas et al. 2001). The yahoo “became one of the very few Aboriginal legends to be embraced by the Europeans” (Holden, Thomas et al. 2001, p16), providing a catalyst for conversation between individuals from these two culturally disparate societies and forming some personal links between these communities. Could creature myths like the yahoo once again form the foundation of a united national...

A delightful French basket mounted in doré bronze which provides the framework for the six panels veneered in mother-of-pearl and set with French porcelain plaques...