Decorative Baskets

A large vintage Chinese woven rattan basket from the mid 20th century with teal color and base. Created in China during the midcentury period, thi...

Finely woven bottle neck Panamint basket. 5" x 8" Period: Last quarter of the 19th century Origin: Nevada Size: 5" x 8". Family Owned & Operated Cisco’s Gallery deals in the rare...

Finely woven pictorial apache basket with flower design, dogs, humanoids and geometrics. Period: circa 1900 Origin: Apache, Arizona Size: 4" x 14". Family Owned & Operated Cisco’s ...

Large Majolica basket with iris flowers signed Sarreguemines, circa 1920.

Large monumental handled Popago basket featuring nine eagles. Period: Mid-20th century. Origin: Papago, Southwest. Size: 12" x 20". Family Owned & Operated Cisco’s Gallery deals ...

A French 19th century jardinière basket with high relief floral barbotine décor. Born in France during the 19th century, this exquisite jardinière features a black and light green gr...

A French 19th century jardinière basket from the School of Fontainebleau with high relief floral barbotine décor. Born in France during the 19t...

Large Paris porcelain centrepiece basket, circa 1840.

Lovely, sterling silver, Edwardian-style, cake basket on pedestal base, Gorham Manufacturing Co., Providence, Rhode Island, year-marked for 1916. Beautiful pierced work. Silver is li...

Karl Springer (1930-1991) Square waste paper basket with curved sides wrapped entirely in tan lizard embossed leather. American, circa 1980.

Swedish woven fruit basket with traces of old paint. This charming basket's flap secures with leather strap and buckle. Note: Regional differences ...

"Kogetsudai (beige)", 2015 coiled nylon cord, sewing thread "Kogetsudai (beige)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden of Ginkaku-ji in Kyoto, Japan. Upon my first visit to this garden, I was fascinated with the Kogetsudai, and the more I learned about it the more my interest was piqued. The feature is one of two special gravel mounds there, which are made from fine grey gravel or sand and re-shaped nearly every day by the gardeners. The name translates to something like "moon-viewing platform" but the reason for the name, the shape, and its significance has been lost to history. Some speculate that the name derives from how the top of the cone appears as a silvery moon-like reflection against a sea of gravel at night when viewed from the upper floor of the adjacent Silver Pavilion - and that the shape may be a reference to Mount Fuji. The Kogetsudai at Ginkaku-ji is a "frustum" shape about 2 meters tall and records show it being in its current shape and approximate dimension since the late 1700's. The shape is very powerful but it is made only of moistened sand. I made this series as a way to study the shape and understand its geometry and presence. I wanted to be able to sit with that shape in a room. I made the shape as a vessel to reinforce the idea of the shape itself, rather than as a solid mass. Furthermore, the dedication to the continual rebuilding of the form and object over and over through time, without a need for any "function" other than beauty and cultural continuity, was similar to how I have come to think of the act of vessel-making by humans. We likely inherited vessel-making skills from our pre-sapiens human ancestors, and have continued this activity over hundreds of thousands of years, and in a proliferation of materials from fibers, wood, clay, metal, glass, plastic, and more. Especially since the beginning of the Holocene, a certain amount of vessel making has had no function or purpose other than for cultural continuity and the cultural, formal, craft, and visual aesthetics within the multitude of human cultures. In this series of works, the continuous length of rope coiled into a conical helix also serves as an expression of this continuity through time, perhaps working towards a yet-unknown endpoint or goal, while creating a space that is simultaneously empty and loaded. This work was first exhibited in 2015 at Patrick Parrish Gallery as part of my solo exhibition "what it is". It was later shown at the Haystack Mountain School of Craft in Deer Isle, Maine, as well as several other group exhibitions. It has also appeared in several design and art publications in print and online. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing...

Fabulous modern polished rock crystal bowl in an irregular shape. Makes an impressive statement!!