Sten Studio Vases

Lio Sabattini "Persepoli" limited edition vase 8/237 Italy.

A pewter vase by FOLKE ARSTRÖM for GAB, Sweden, circa 1930th. Limited edition of 150. Stamped and numbered 57/150.

Sculptural Organic Modern vase was hand blown with thin layer of red glass underlying the two-toned fused glass. The abstract, graphic pattern of dark red, almost burgundy colored fused glass on light beige background is swirling around the curves of the vase; the whole structure is enclosed in thin layer of clear glass in sommerso technique, adding depth and definition to the piece. Minimal shape of the vase allows the bold flow of the pattern to take the center stage. The vase is signed and dated by the artist on the bottom with "Vitrix Hot Glass...

Sculptural Organic Modern vase was hand blown with thin layer of white glass underlying the multicolored fused glass. The abstract, graphic pattern of jewel-toned green, off-white, c...

Designed by Fulvio Bianconi for Venini Blown handmade vase with colored inserts Transparent blown glass can either be clear or colored by the addition of small quantities of metal ox...

Black Shiva ceramic vase designed by Ettore Sottsass circa 1973, edited by BD in Barcelona. This piece has been produced as a limited edition with a total of only 100 units. This...

Black Shiva ceramic vase designed by Ettore Sottsass circa 1973, edited by BD in Barcelona. This piece has been produced as a limited edition with a total of only 100 units. This...

This elegant baluster vase, crafted by the renowned Haviland porcelain manufacture in Limoges, is a striking example of French decorative art. Made from fine porcelain, the vase feat...

Twenty-seven woods for a Chinese Artificial flower vase O by Ettore Sottsass, edited by Design Gallery Milano, 1995. Limited edition of 12 signed and numered pieces, number 3 / 12. ...

We have a small number of these fantastic pieces by the famous English pop artist Allen Jones. They consist of a full bottle of perfume, with a stunning Aluminium sculpture of a sexy ladies boot, each of the three perfumes, Sparkling, Shocking and Shining have their own individual smell and individually coloured sculpture Shocking is burgundy outside and orange inside Sparkling is yellow outside fading into blue with Aluminium inside Shining is green outside and orange inside. Each comes in presentation box with an Allen...

Porcelain vase with limited series oriental decoration where it contrasts between gloss, matte and satin in both the platinum and enamel luster.  

Karim Rashid for Leonardo Germany Limited Edition New Move Silver Glass Vase, ca 1999. Measures 8” high, base 3-1/2” wide, and mouth 2-1/4” wide. There is a small scratch of silver finish/coating on glass (we've posted an image of the interior and exterior at the area of the scratch). There is also a faint area of small blemishes at the base See images for more detail. If there’s one thing karim rashid hates, it’s trophies. The 40-year-old designer has more than 40 of them, from big international ones like the 1999 George Nelson Award (given for breakthrough furniture design), to quaint little Canadian ones like Designer of the Year 2001. “It came with a little pin,” says Rashid, “and a … a … very nice …” He tries to describe the shape of the award with his hands but gives up. “It’s time that whole trophy thing changes. It’s kitsch. They’re functionless things.” Rashid was asked to design one for the DaimlerChrysler Design Awards (he’s a past recipient). “I was going to make it electro-luminescent. When the lights go out, it has a sensor so it turns on,” he says. But the trophy-as-night-light, a reminder of one’s worth in the darkest hours, didn’t impress Chrysler’s people. He never heard back. They may well be gnawing their knuckles over that decision right now because Rashid’s conquest of the realm of product design is all but complete. A lush and suitably worshipful retrospective of his work, Karim Rashid: I Want to Change the World (Thames & Hudson; 249 pages), hits Australasian bookstores this month. There was a crowd around anything with his stamp on it-including stools, chess sets and storage units-at the recent International Contemporary Furniture Fair in New York City. More than 2 million North Americans are throwing their rubbish into a receptacle he designed, while 750,000 or so park their rears on one of his cheapo plastic chairs. It’s not just in North America. He has been dubbed Der Poet des Plastiks by a retailer in Germany and the prolifico progettista Americano by Interni magazine in Italy. Trophies he may despise, but accolades Rashid can handle. The problem with being the Most Famous Industrial Designer in All the Americas is that you’re still less famous than someone who got kicked off Survivor the first week. Most people cannot name the designer of one nonclothing item in their homes. Rashid, who was born in Egypt, raised in Canada and is living in New York City, is more than happy to bring an end to this anonymity. Not just because he wants to be famous, although there seems to be that, but because he believes design should be a bigger part of the social discourse. “I have been almost alone in this country, trying to make design become a public subject,” he says. His chief method of persuasion is to make the banal better so that people notice design more. He likes creating expensive furniture and perfume bottles just fine, but what really gets his juices going is the everyday: manhole covers, a cremation urn, disposable cigarette lighters, garbage bins, salt and pepper shakers, plastic pens. “I want American Standard to come to me to do the toilets for Home Depot,” he says. In many ways Rashid is more like an itinerant industrial evangelist than a designer. He traveled 200 days last year. He claims to have been to every major mall in America, where he signs his products in high-end design stores and trolls about observing humans interacting with the objects around them. He has taught at design schools for more than a decade, and his work has been in 11 art shows in the past eight months. But mostly he has proselytized the corporate barbarians. And like any good missionary, he has learned to speak the language of his converts. One of the first things he does when he gets new clients is tour their factories to understand their manufacturing capacity. He also visits the retail outlets to see how the product might be displayed. And he really knows how to sell, especially himself. “I work with a guy in L.A.,” says Rashid, declining to name him. “He made a lot of really bad furniture. His business was hand-to-mouth. I proposed seven or eight projects. The pieces I’ve done for him have already become iconic.” The subtitle of his monograph, I Want to Change the World, is not ironic, just characteristically immodest. “Most industrial-design studios try to interpret a client’s needs and come up with a style,” says Paul Rowan, co-founder of housewares manufacturer Umbra. “Karim has his own personal vision.” It helps that Rashid’s vision incorporates things that Rowan needs, like a design that will stack and ship easily and that creates little waste in the making. Rashid’s father was a set designer for Canadian TV who rearranged the family furniture every Sunday. So perhaps it was ordained that Karim would grow up to become one of the pioneers in non-cheesy plastic, making objects that have energy and personality but aren’t wacky. He, like many of his generation, has championed the could-only-be-designed-with-computers blob. But his is not just a blob for its own sake. His Oh Chair...