Antwerp - Serving Bowls

Silver sugar bowl is a precious decorative object realized in 20th century. Very precious sugar bowl with very refined decorations. Weight: Kgs 0...

19th century French redware tian bowl with inside green glaze, serving spout, and natural finish on the exterior. Traditionally used to prepare conf...

This delightful vine pattern sterling silver bowl by Tiffany features a daisy motif around the top side rim, and is monogrammed Margaret Foster Smith 1893. The piece is marked on the...

Made in Germany Walther and Sohne of Radeberg, 1930s - 1940s. The company was well known for making high quality pressed glass. Some of their flint and coloured glass has been attrib...

This crystal Corona Bowl was designed by Lars Hellsten for the Swedish glassworks Orrefors in the 1970s. Made of high-quality artistic crystal in the shape...

Vintage midcentury round textured moulded glass vase by Walther Glas of Germany. Quite a rare form and design. This would work beautifully in a kitchen wi...

A very charming early 20th century lidded copper pot in an oval shape. A wonderful addition to any copper collection.

Trigonal ceramic fruit bowl in pastel colors was originally designed by Masanori Umeda in 1983 for Memphis Milano. Was born in 1941 at Kanagawa in Japan. He obtained his diploma fro...

A Mid-Century Modern fake tortoise lucite and brass round bowl designed and manufactured in Italy in the style of Gabriella Crespi. Brass in original patina gives it a vibrant vintag...

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...

Unger Brothers, sterling silver bowl in Art Nouveau style with a rim richly adorned with tri-dimensional natural motifs including sculptural roses. It measures 10 1/4'' in diameter by 2 7/8'' in height, weighs 10.3 troy ounces, and bears hallmarks and an engraved monogram at the center as shown. Unger Bros. or Unger Brothers (1872–1910) was a jewelry company in Newark, New Jersey, best known for their sterling silver Art Nouveau designs. The company was established by five sons from a German immigrant family. The oldest founded a jewelry business between 1870-1872 and began the manufacture of sterling silver items in 1878. Other sons gradually joined the firm, among them a silversmith and an engraver whose brother-in-law became the leading artistic designer. By 1901, the firm had just under 300...

Beautiful decorative red glass plate/bowl from Italy. Plate is in very good vintage condition, no damage or cracks. Original glass. Unique piece for e...