Maurice Heaton Bowl

Vintage Cenedese Italian Murano Bowl, signed. This excellent example is free of damage, clean and ready to display.

Very nice example of Lisa Larsons "Paloma" series in perfect condition. Less whimsical than much of Lisa Larsons work. Measures: Interior diameter 5.

Hard to find example of the work of Mark Wright. This wood bowl is in good condition, however does show a small chip, and a slight split at the top edge, please see images. Fully and...

Great Murano glass bowl with gold fleck inclusion, attributed to Seguso.

Nice center bowl designed by Tapio Wirkkala for Ittala. Clear glass with textured ice surface. Original clean and undamaged condition, unsigned.     

Rare centrepiece bowl attributed to Martinuzzi for Cappellin (precursor to Venini) in the Soffiati technique. This example is in perfect condition, free of damage, chips, scratches, ...

This most unusual signed glass bowl or plate by Maurice Heaton is vintage and from the 60's. The pattern and color of abstractions of green against b...

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

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...

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...

A finely cut and polished crystal regency style Waterford Louise Kennedy bowl . The Regency shape is a time-honored style for good English cut crystal a...

Silver plated bowl designed by Paavo Tynell and manufactured by his own company Taito circa 1950's. Has wear and patina (pictured).