Drops Smocked Bowl

Bowl Oak Smocked with all structure in solid oak in smocked stained finish.

Bowl hands all made in moleded resin and stone alloy, subtle decoration pieces.

Bowl mouth all made in moleded resin and stone alloy, subtle decoration pieces.

Bowl relaxation all made in moleded resin and stone alloy, subtle decoration pieces.

Bowl butterfly with crystal glass bowl and with solid brass leaves. Measures: Bowl: Diameter 20cm x height 11.5cm. Bowl and dragonflies height: 29cm.

Bowl Amy all in porcelain, hand-glazed and sculpted. Porcelain with a mineral Finishing.  

Amazing Blue and white art glass bowl or centerpiece. Italy, 1950s This free-form hand blown art glass bowl has applied clear glass drops at the exterior part and white murrine work...

add a spectacular focal point to your dining or coffee table with this large bowl. 16 crystal spheres are bonded to the main crystal piece with special pigments that shimmer through...

60s 70s teak teak bowl bowl supplier bowl Danish Design Denmark 60s Object: teak bowl Manufacturer: Condition: good Age: around 1960-1970 Dimensions: Diameter = 25c...

Inspired by Japanese forms and traditions, objects in the KAYA collection have been worn down to the essential contours. Cast in bronze, the forms are meant to convey a sense of stil...

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...

Glazed ceramic bowl. Earth toned glazing with black accents over thin walled vessel with elegant base detail. Stamped on underside of base.