Colombian Decorative Bowls

Beautiful vintage art glass bowl made by the famous Chribska Glasswork in former Chechoslovakia in the 1960s. There is an engraved mark '1414' a...

Beautiful post modern design by the well known architect Richard Meier. Measure: 10 inches.

Crystal bowl, Poland, 1960s. Dimensions: Height 12 cm, width 25 cm, depth 13 cm.              

Vintage staved teak serving bowl designed by Jens Quistgaard for Dansk. Stamped "Dansk Designs Denmark IHQ" on bottom. Designer: Jens Quis...

Large vintage danish teak bowl by Nissen. Designer: Richard Nissen Manufacturer: Nissen Studios Year: 1960s Origin: Denmark Dimensions: 5" tall x 11" diameter.

Vintage Brazilian modern bowl crafted in solid Jacaranda Rosewood by Jac-Arte. Maker: Jac Art Year: 1960s Origin: Brazil Style: Mid Century Modern Dimensions: 9.5" wid...

Ceramic three-level fruit bowl originally designed by Marco Zanini in 1985 for Memphis Milano. The three geometrical shapes in three colors complete the idea of a trilogy. Marco Zan...

The Jelly bowls are part of a new series of design items through which Kartell, in its continuous search for new tactile and aesthetic effects, once again demonstrates its technologi...

Midcentury decorative ceramic bowl (circa 1960s) by Albert Thiry (1932-2009). A Classic Thiry design and decoration scheme, this bowl's base co...

A very nice set of three red-orange enameled bowls made by Kaj Franck for Finel, made in Finland in the 1960s. These bowls are in a very good condition with some signs of age and use...

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...

The Jelly bowls are part of a new series of design items through which Kartell, in its continuous search for new tactile and aesthetic effects, once again demonstrates its technologi...