Australia - Bowls and Baskets

This two handled, footed bowl with a lustre glaze is by Lorenzo Rubboli of Gualdo Tadino in Umbria, Italy. The centre of the bowl is decorated with a stylised flower which is contain...

Aldo Tura for Macabo walnut basket centrepiece hand carved wood and brass, Italy, 1950s.   

Just wow! A huge, gorgeously colourful Kaneaki Fujimori platter. This will display equally well standing, hanging or flat (we prefer it flat because this emphasises the generous size). We love the shocking white of the background which makes the colours pop. We love the smooth gloss of the glass. We love the slightly off-kilter and ovoid shape. It’s a total winner! Kaneaki Fujimori for Kato Kogei 1980s - a classic piece of Japanese postmodern Art Glass. Signature etched to base and original sticker also attached. Red, Green, Yellow and Black are swirled through clear glass, over a milky-white background. Delicious and punchy. Not for the faint-hearted decorator. This piece is loud and assertive. Delightful and fun, with extravagant size and a glossy smooth finish to reflect light and attract the eye. There are some natural flaws which we’ve tried to illustrate in images. These include numerous small bubbles, mots and blemishes. The images are an example, with match-head for scale. Comes with a lucite stand to raise the plate a little higher off surfaces if desired. Kaneaki Fujimori is one of Japan’s preeminent artists and designers of the 20th century. Fujimori was born in Japan in 1935, graduating college in 1956. He majored in oil painting. He travelled to the US and worked in Chicago, Illinois, as a designer for a major ceramics firm. He returned to Japan in 1963, and became a freelance designer for various companies in Nagoya. At age 19, he had won the national art award (for painting) in Japan. Many other awards followed through the 1980s. At the time of the production of this work, he was the director of Kato Kogai, a ceramics and glassware company which was a major supplier to the international market during the 1980s. Reference to his work can be found in the book ‘1950s Then and Now’ by Richard Horn, a publication from the 1980s which compares original 1950s design with new 1980s design done in the 1950s style. He is most well known outside Japan for his lively 1980s ceramics...

This small footed dish is decorated with Kitty Blake's trademark hand painted blackberries, flowers and foliage, done in autumnal tones, and enhanced with ...

Superb large example of Barbini 'Scavo' glass. Amethyst glass with cobalt blue highlights. Wonderful markings, colours and proportions. Signature to base. One of the largest size...

This Copeland Spode wash jug & basin set is decorated in a pseudo Japanese style made popular after Japan was opened up to the West from the late 1850's. Japa...

Extra large, beautifully shaped midcentury rattan split cane fruit basket. Constructed of recycled plywood and rattan cane by an unknown designer. Possibly made in the Philippines in...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

Johnny Nargoodah and Trent Jansen have been collaborating in the design and crafting of collectable furniture since they met in Johnny’s home town of Fitzroy Crossing, as part of Fremantle Art Centre’s ‘In Cahoots’ project in 2016. This collection - Saddle (2020) gains its name from the first sketch that Johnny made for this collection, an elongated saddle that led to experiments in stretching supple Scandinavian upholstery leather between geometric timber and steel forms to generate new, complex transitioning forms. Sketch exchanges over an 18-month period eventually yielded an entire collection built on this beautiful capability of leather to stretch between forms and give shape to the space in-between objects. Trent Jansen & Johnny Nargoodah Partu (Skin) Collection Saddle Vessel Tall...

Johnny Nargoodah and Trent Jansen have been collaborating in the design and crafting of collectable furniture since they met in Johnny’s home town of ...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

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...

A handcrafted plant pot holder by the Zaccagnini pottery. This lovely piece is styled as a cylinder of plain white columns under a plain edge, sporting two highly detailed bunches of...

In solid slate blue jasper, with inlaid foot; decorated with numerous reliefs typical of the period. Engine turned decoration and lapidary polished interior. Exhibited: Wedgwood, Ma...

A dessert dish, in the shape of a shell, and decorated in the Sevres manner.

Murano ashtray in gray/black glass. Has a little chip on the bottom but still a beautiful pieces.

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 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 colonization. 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...

Three-tiered stand for sweetmeats, in the form of shells and coral, and enameled with flowers; it is rare to find these in such good condition. Probably from a large dessert service. These stands were popular in the Georgian period and were made by most of the porcelain factories. Many were modelled by a man named Tebo, who went from factory to factory creating these stands. He appears to have used real shells...

A fine and rare pate de verre cameo glass bowl with a lobed rim. The mottled white ground graduating to a vitrified powdered violet and featuring cameo engraved and polychrome enamel...