Aluminum Decorative Bowls

Place this unique design on a favorite table for the perfect centerpiece or enjoy in the kitchen as a special fruit bowl. The die cast aluminum standing bowl...

Sit this unique design on a dining table as a beautiful serving dish or place in the entryway as a prefect general catchall. This die cast aluminum bowl...

Large asymmetrically shaped aluminum bowl. Makers mark on underside .

The decorative Canoa Dish was created by David Marshall, it is made of sand cast aluminum and sand cast brass. Handmade, mounted and finished in our foundry and workshop in Spain fro...

Hoselton Studios Solid Aluminum Biomorphic Bowl / Tray, Canada, 1970's. Signed to the bottom.

Superb and large empty pocket designed and made by the artist David Marshall around the 80s, spain. Structure in brass and aluminum. Beautiful design object that will decorate you...

Italian midcentury abstract-geometric silvergrey alumnium bowl designed like a wrinkeled paper, signed NP2 at the bottom Nerone and Patuzzi (sculptor/architect Nerone Ceccarelli & Gi...

The Bowl was created by David Marshall, from sand cast aluminium and brass. We use recycled materials all our pieces are handmade, mounted and finished in our foundry and workshop ...

The decorative Medium Mesh Fruit Bowl was created by David Marshall, it is made of sand cast aluminum . Handmade, mounted and finished in our foundry and workshop in Spain from recy...

The abstract bowl was created by David Marshall, from sand cast aluminium. We use recycled materials all our pieces are handmade, mounted and finished in our foundry and workshop in Spain. It is certified authentic by the Artist David Marshall. He is insipired by nature and the landscaps making useful art with cast brass and alumium materials. We also make bespoke designs for clients, like signage for condominums, private homes, Hotels & Restaurants, awards for Charity...

These cast metal vessels are indebted to origami forms. Available in brass and aluminum. Set of three. Founded in 2011, AKMD developed out of a thirteen-year friendship and design c...

Arthur Court 1977 nautical 12 inches Aluminum Koi Fish Footed Shell Bowl with red Carnelian Eye. A rare vintage aluminum Arthur Court serving bowl in the shape of a seashell with polished red stone eye. Scale-like decoration incised across front. Marked Arthur Court designs and dated 1977. Great Addition to Your Asian inspired Table...

Superb empty Brutalist pocket designated and made by the artist David Marshall around the 80s, spain. Structure in brass and aluminum. Beautiful design ob...

Chic modern style fruit bowl crafted in cast aluminum with a bold faux coral composition.

Mid century bowl crafted in cast and polished aluminum in the iconic clam shell form. Signed in the cast on the bottom.

Aluminium and brass Brutalist style vide-poche by Alfonso Marquez (in the style of David Marshall). Weighty and wonderfully tactile, this bowl is decor...

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...

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...

Large Michael Lax polished aluminum bowl Some wear on the interior center area as shown. Would be a good piece to possibly have polished.

Bowl nickel table in aluminium in nickel finish. Elegant center table bowl.

One of the most iconic, though rare, pieces ever made by Oscar Bach, this bowl features an iconic leaping stag in high Art Deco style, executed in a silvery aluminum finished in a subtly iridescent glaze. This bowl, and a series of rare chargers in the same series, were molded in an enormous hydraulic press by the Sterling Bronze company for Bach. The artist was, along with Samuel Yellin, one of America's premier metalworkers in the 1920s and 1930s. He crafted enormous metal sculptures designed by Hildreth...

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...

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...

Limited edition 'Mioevo II' cast bowl makes whimsical use of a worn plaster and brick motif. Comes with certificate of authenticity.

Paul Evans handcrafted cast aluminium moon crater accessory Dish. Bowl. 1960s. Keys. Watches. Cufflinks. Jewelry. Marked 220 to underside. Organic. Brutali...