Steel Decorative Objects

Painted steel bound trunk, with hand wrought steel straps on all sides, open interior with candle box on right, original steel hinges. The top has ''bread ...

'The Return of History' is a unique artwork by the American and Swiss artists, Philip Baldwin and Monica Guggisberg. Combining Scandinavian and Venetian glass making techniques, their sculptural boat centrepieces are made from smaller blown and cut glass components nestled (in sand) inside a metallic hull. ''We are migratory creatures; the history of our species is about journeys, departures, leaving and arriving, starting over. And none more so than ourselves. Our new work is both culturally and personally inclined. An autobiographical touch in civilizational reflection. Wherever man goes he builds, laying down cultural lines which gradually transform into relics and artefacts over time''s inevitable march. Urban landscapes and complex designs grow and expand, deteriorate and decay. And on again we move, taking the memories of our exploits with us to use in the next story.'' B&G Baldwin (1947, New York) and Guggisberg (1955, Bern) have been a collaborative team for over forty years. They share an instinctive appreciation for the subtle blending of art and design, functionality and abstract expression, combined with a love of material – especially glass. The list of museums and collections which have acquired their works is long and impressive. Individual showings, as well as participation in group shows, have given them opportunities to present their works at leading galleries and in major museums in Europe, Japan and the United States and their works rank among the best to be found in the international glass art scene. Working freelance, they have also designed successful products for international glass manufacturers since 1985. Their clients have included renowned firms like Rosenthal, Steuben, Corning and Venini. Over time their work has developed its own distinctive signature, based in Italian cold-working (battuto) combined with the Swedish overlay process for layering colours. They have been pioneers in adapting these techniques and in creating a distinct expression of their own. Colour, light, texture, pattern, and shape together reveal an undercurrent of meaning and value, adhering to the simplest of forms and clear lines. Over the years they have become more sculptural in focus, while seeking to imbue their work with a deep connection to archetypal forms and shapes, and striving for the highest level of craftsmanship. They address eternal symbols of human culture and history, while embracing contemporary evolution in form and meaning. In recent years large installations and major exhibitions in public spaces, such as Canterbury Cathedral...

Extremely rare Swiza table clock/alarm clock in the shape of the famous Swiss watch "Audemars Piquet Royal Oak" in steel with quartz movement....

This clock is profusely inlaid with rosewood ,ebony, satinwood, and boxwood. The bonnet has two inlaid shell pateries. The center door has a classical urn inlay...

A unique set of two brutalist candle holders from the fifties. each one is made and welded from a pincer, a horseshoe and a nail. Great design and great patina.  

Still with it's original box is this Very impressive and rare 1930's Art Deco green and clear glass and chrome 8 day clock. Superb condition, just some mild corrosion to some areas o...

Bakelite table phone from the early 1960s.  

Wonderful masterpiece of the famous Italian Artist Marcello Fantoni made in light brown and gold glazed ceramic and based on a cube steel base in form of an abstract fish sculpture...

Vintage 1940's-1950's Elephant themed playground slide. Garden ornament, sculpture. Children's outdoor slide retaining painted elephant to both sides,...

Beautiful “la collection” Van Cleef & Arpels , Paris travel and desk clock with stand. Made of brushed steel, some parts with gold wash. Engraved refe...

This beautiful, carved, driftwood sculpture was made from part of single large tree. This important reclaimed tree root has a bleached natural finish and sits on a natural wood base ...

Dancing Nun 1 & 2 candlesticks, designed and made by British silversmith Callum Partridge. Fabricated from COR-TEN steel and sterling silver, the latter being a ...

Spiral clock B #2 silver body designed by Shiro Kuramata. Dial is inside acrylic edge rounded shade. Black body model is also available.  

Spiral clock B #2 black body designed by Shiro Kuramata. Dial is inside acrylic edge rounded shade.  

Spiral clock B designed by Shiro Kuramata. Dial is inside acrylic edge rounded shade.  

- An incredibly rare single sided Chloride Gent illuminated station clock of huge proportion, English circa 1980. - A heavy solid black outer casing with original backplate, the cl...

Stunning white and black Art Deco porcelain penny scale by Navco. Amazing design, reminiscent of a womans cloaked silouette, retains original key...

With this captivating blue Belgian stone sculpture, Cesare Arduini has continued his masterful exploration of space, his play of the balance between positive and negative space. U...

A sculptural flower vase. By an unknown designer. Produced in Sweden, circa 1940s. In original condition. The vase is unmarked, contour of a sticker is present on the underside.

Huge 52" long bent steel decorative clothing Hanger Art. Hanger weighs 16 pounds and is constructed of solid steel metal which is separated in the midd...

Richard Sapper designed Tizio desk lamp for Artemide. Nice original condition. Retains original string tag. High and low lite switch.

A highly rare and important Spanish damascene, "Egyptian Revival" iron, steel, gold, and silver inlaid clock, circa 1900 Exceptional quality, damascened in gold and silver inlay. Measures: 10" high x 16" wide x 9" deep. Definitely made by one of Placido Zuloaga...

Edition number 1 of 8. Marino di Teana originally trained as an architect and sustained an eclectic array of passions throughout his long career as ...

Is a playground restoring bounce and primal spirit of male and female.  

Brutalist cut steel "stalactite" sculpture by Sue Taves, circa 1992, Classic modernist design, manner of Paul Evans.

For your consideration is this rather stylish English Art Deco chrome clock with an 8 day movement. Deceptively heavy and of a good quality build. On the back of the clock reads 'Bri...

Marino di Teana originally trained as an architect and sustained an eclectic array of passions throughout his long career as an artist. Disciplines lik...

Examples of this patinated steel sculpture have been exhibited throughout Europe since the early 1980s, most notably as a tribute to the artist in 2008 in his birthplace and childhoo...

Large German station clock by Siemens & Halske from the early 1950s. Formerly as a slave clock with mechanical movement, it is now fitted with a modern quartz movement with a batter...

The giraluna is a spectral plant entity from Leo Lionni's Classic alternate universe  textbook Parallel Botany.  About the Sculpture: The Giraluna This elusive and capricious plant is the Dream Queen of parallel botany. Hydendorp, quite rightly, does not hesitate to define it as the "most parallel of plants, most plantlike of the parallels," and in so doing he stresses not so much its physiognomic oddnesses as the disconcerting normality of its shape. "If we were in the jungle," he writes, "and we found one blocking our way, we would not for an instant hesitate to hack it down with our machetes."1 But it will not be our good fortune to encounter it. If in reconstructions the Giraluna displays considerable plantness of form and an exact and convincing solidity, in its natural environment it can be perceived only as a nebulous interplay of glimmerings and empty spaces which alternate in the darkness and vaguely suggest where its outlines might be. (pl. XXIV) Its nocturnal presence, in fact, is manifested almost entirely in terms of the equivocal O'-factor of the moonbeams, which was discovered and measured a few years ago by Dennis Dobkin of the Point Paradise Observatory. This factor changes the light-shade ratio which normally defines volumes into a subtle interplay of lucencies and opacities, so that our perceptions, our basic sensorial habits conditioned by thousands of years of daytime life in the "solar key," would need complete readjustment and indeed reversal in order to come to terms with it. Daylight isolates objects, bestowing a noisy Meaning on all the odds and ends in the world. But night takes everything away except the very soul of things: a black light, a transparent darkness, a secret we cannot grasp. During the long night of the Erocene era man caught a glimpse of the Giraluna rising mysteriously in its barren landscape. Presolar man imagined himself the child of the Moon. In her lap he had known the comfort of the life, silent torpor of the night, and by her light he had seen silver pearls lie weightlessly upon the coronas of the first great flowers. But he left us only a few enigmatic signs of all this: the Feisenburg cave, the petrified bones in the Ahmenstadt tumulus, the Boergen Cup. Paradoxically enough, all that we do in fact know of his presence in that landscape comes to us from our study of his nocturnal vegetation, Around the middle of the Erocene era, when the flowers of night were fading away in the light of a new dawn, man saw that outlines and colors were slowly hardening. Thus he discovered the stone-hard world of day, and learned to be the child of both Sun and Moon, of Amnes and Ra, of Disarm and Karak, of Nemsa and Taor. The "crawling stones" of Yorkshire, the stele of Tapur, the graffiti of Klagenstadt, these have preserved for us the nearly obliterated images of the two divinities who from the center of their temples drew the design of the universe. But the Sun was not long in attaining absolute power over everything in the world. "O Ra, o Amno Ra our benefactor, glowing and flaming! Gods and men bow down before you, for you are their creator and their only Lord." Such was the prayer of Amresh, High Priest of Egypt. And a new vegetation, outspoken and exuberant, appeared on the earth, and made the bright leaves dance in the morning breeze. Night soon became no more than a dark corridor joining one day to another, a place of visions and memories, a storehouse of words and images. It became a secret refuge where the vanished flowers could once more flaunt their coronas to the Moon. And thousands of years later the black flowers of that distant night-Giraluna, Lunaspora, Solea argentea-were born from seeds hidden deep in a soil rich with legends and stories. If our knowledge of the Giraluna is today reasonably complete and detailed this is due to the industry and scholarship of Professor Johannes Hydendorp of the University of Honingen, who has collected and collated all known facts and kept his records abreast of the latest developments. Our historical and geographical information comes from the most varied sources: legends and folk tales handed down from generation to generation, accounts given by explorers, anthropologists, and paleontologists, and of course the more recent testimony of botanists such as Heinz Hornemann and Pierre Maessens. Source: Sivatherium. narod .edu About Sculpture: Leo Lionni is best known today for his children's books: Little Blue and Little Yellow; Frederick—the one about the mouse who gathers poems while his family is harvesting seeds for the winter—Swimmy the Fish. Of course the children don't remember his name, but to parents and grandparents, the ones who actually do the reading, he is something of a celebrity. Most people don't realize that Lionni is also one of the 20th-century's most influential graphic designers. Within that field, he is a legend. In fact, he didn't start doing children's books until he had left the world of advertising, teaching, and design to allow more time for contemplation and for art. Little Blue and Little Yellow (1959) began as an improvised entertainment for bored grandchildren. What can you do with a few scraps of colored paper and a lot of imagination ? Make the first best-selling children's book illustrated with abstract art. Before that his work as design director for Olivetti Corporation of America and the art director of Fortune magazine, the co-founder of the Aspen...

Important sculpture by Paul Evans, in welded and color enameled steel, New Hope, USA, 1965. Letter of Authenticity from Dorsey Reading and Provenance available on request.

An unique wall clock with an enameled elongated rectangular face, off-center dials and square hour markers.