Australia - Serveware, Ceramics, Silver and Glass

Fold wine rack is a Brutalist inspired modular design that can be stacked in a variety of sizes and configurations. Made from folded sheet metal with an iridescent zinc plated finish...

Blackened Vide Poche Rond XL by Henry Wilson Dimensions: D 18 x H 4 cm Materials: Bronze Discard your day at the door. Your Vide Poche XL is designed with your loose-pocket items in...

Reversible Watch Tray by Henry Wilson Dimensions: W 26 x D 11 x H 3 cm Materials: Bronze A watch tray designed in collaboration with Jaeger-LeCoultre 'Time and Place'. The tray offers two distinct sides - one with a double watch...

Calacatta Viola Block Thoronet Dish by Henry Wilson Dimensions: W 24 x D 6 x H 33 cm Materials: Calacatta Viola Marble The Thoronet Dish in Calacatta Viola marble. Unlike the bronze...

Make an offer A small pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Grahamstown and trained under Hylton Nel...

Calacatta Block Thoronet Dish by Henry Wilson Dimensions: W 24 x D 6 x H 33 cm Materials: Calacatta Marble The Thoronet Dish in Calacatta marble. Unlike the bronze and aluminium ver...

Calacatta Big Poche by Henry Wilson Dimensions: D 30 x H 7 cm Materials: Calacatta Marble The Big Poche reinterprets and scales up our Vide Poche Rond. Each piece is manufactured in...

Bronze Incense Burner by Henry Wilson Dimensions: D 6 x H 5 cm Materials: Bronze The Incense Burner was initially designed for Perfumer H. The p...

Blackened Incense Burner by Henry Wilson Dimensions: D 6 x H 5 cm Materials: Bronze (Blackened) The Incense Burner was initially designed for Perfumer H. The piece is sand cast in s...

Sana vase small by Tom Fereday Dimensions: D 12 x H 27.5 cm Materials: Solid Cast Quartz Glass Also available in clear frosted. The SANA collection is the first ever home wares collection developed by designer Tom Fereday and was conducted from a research-based approach into wellbeing within the domestic living space. Material research focused on natural materials which may be subtle yet retain a high perceived value. The resulting chosen material, solid cast quartz glass was selected for its high degree of optical transparency, natural variation in finish, thermal excellence and overall weight and quality. Tom Fereday develops products based on the principle of honest design, conveying a design process which celebrates the materials and manufacturing processes behind furniture and products, to design from the inside out. By using the materials and environment as a positive design constraint we guide intelligent and thoughtful design outcomes which connect with people through natural materials, tactile finishes and unique design. We strive to create enduring designs which are meaningful to people and their environment. Born in Australia, Tom Fereday grew up in England studying at the Wimbledon School of Art before moving to Sydney to complete an honours in Industrial Design at the University of Technology Sydney. Working across Europe and Australia Tom Fereday went onto found his sole practice in 2012. Affiliations Society for Responsible Design (SRD) Design Institute of Australia (DIA) Awards 2019 - House & Garden style awards - ETO Desk 2018 - Idea Awards - SIA Chair - Highly Commended 2018 - LAMP International lighting competition - Winner established designer 2018 - Lane Crawford creative callout - Winner 2018 - Good Design Awards - SIA chair - Gold winner 2017 - Mercedes-Benz Design Award - SIA Chair - Winner 2017 - International Design Award - SP01 collection - Honoree 2017 - International Darc Awards - Mito Lamp - Winner best floor lamp 2017 - ICFF NYCxDESIGN - Emerging Designer - Honoree 2017 - A+Awards - Bow Chair - Finalist 2017 - Archiproducts Design Selection - Stockholm Furniture Fair 2016 - Good Design Award Chicago - Bow Chair - Winner 2016 - Timber Design Awards - Pieman Collection - Winner excellence in timber design 2016 - Good Design Award - MW1 Watch - Finalist 2015 - Good Design Award - 3000 Collection 2015 - Good Design Award - Best in category NTR Microphone 2015 - Red Dot Design Awards - Best of the Best NTR Microphone 2014 - Space + Moooi 2014 Design Residency 2011 - H&G Style Awards 2011 2011 - Interior Design Excellence Awards 2011 - Finalist 2011 - One Good Chair Competition Allt Chair 2010 - Nominated by Triple J and ABC News as top 25 young achievers 2010 - Australian Design Awards - Design Mark - Pebble Ottoman...

A small pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Grahamsto...

Travertine Ashtray by Henry Wilson Dimensions: D 20 x H 7 cm Materials: Travertine A contemporary take on a mid-century classic; Travertine Ashtray – a monolithic, sculptural piece...

The unique Solar collection conjures the spirit of the mystical universe. Natale’s solar candles encompass mysticism and pairs it with clean architectural lines in an evocative and e...

The unique Solar collection conjures the spirit of the mystical universe. Natale’s solar candles encompass mysticism and pairs it with clean architectural lines in an evocative and e...

The unique Solar collection conjures the spirit of the mystical universe. Natale’s solar candles encompass mysticism and pairs it with clean architectural lines in an evocative and e...

Fold wine rack is a Brutalist inspired modular design that can be stacked in a variety of sizes and configurations. Made from folded sheet metal with a powder-coated finish. The intention of the Fold collection...

A small pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Grahamstown and trained under Hylton Nel at the Port Elizabeth Technikon and obtained a Higher Diploma in Ceramic Design in 1985. She lectured in Ceramic Design until 2002 when she devoted her time to producing her own work. Working within the realm of figurative clay, Charmaine uses both abstract and stylized symbols and motives to embellish both her sculptural and utility forms. Vessels are thrown and altered to incorporate sculptural and semi-relief elements. Coloured stains and natural oxide washes are used to enhance the manipulative and expressive quality of the clay surface In 2008 she returned to South Africa after spending three years in France and now lives in Nieu Bethesda where the natural Karoo environment and it extremes of weather inspire her work. In 2010 she was made a Fellow of the Ceramics Southern Africa Association in recognition of her contribution to Ceramics in South Africa. She continues to explore her ongoing fascination for Ancient Cultures, African Artifacts and Medieval Iconic...

Fold wine rack is a Brutalist inspired modular design that can be stacked in a variety of sizes and configurations. Made from folded sheet metal with a powder-coated finish. The intention of the Fold collection...

A pottery conical face vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Gr...

A major piece - large pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 196...

A large pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Grahamstown...

A large pottery vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Grahamsto...

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

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

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

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 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...