Michigan - Bowls and Baskets

We are very pleased to offer this charming sculptural wicker bear storage basket, circa late 20th century, beautifully handwoven in warm honey-toned rattan. Designed in the form of a...

A Chinese three-tier stacking wedding basket (tí lán), circa 1900–1930. Coopered wood stave construction with rattan bindings, finished in warm amber lacquer and decorated throughout...

Turned vessel in Boxelder burl by Utah artist Lane Phillips USA 1994 Hollow form round bowl with contrasting ebonized collar Signed and dated to underside 7 inch diameter 5 inch h...

This lot includes the following: a handbag with a rose motif, a faux leather yellow handbag with hoop handle, a blue denim handbag with a large flower, and a purple and brown handbag...

Large asymmetrically shaped aluminum bowl. Makers mark on underside .

This vintage mid century modern ceramic pottery bowl circa 1960 is beautifully handcrafted. The distinctive modernist design features accent holes, center rings, a pedestal base and ...

Turned bowl in Walnut by UK artist David Woodward Circa late 20th Century Finely turned footed bowl with beautiful grain Signed to underside 5.75 inch diameter 3.625 inch height

Handcrafted in the late 19th century, this authentic Old Hickory basket features a classic woven hickory splint construction with sturdy bentwood supports and an arched handle. The w...

This Italian mid-century magazine basket is a distinctive example of the bamboo and rattan work associated with Franco Albini and his contemporaries. A large rounded rectangular hand...

Unique decorative vessel sculpture by American craftsman Jay Whyte circa 1980s Executed in Red Oak Burl with organic form and sloped design supported by an integrated ebony stand Si...

Found in Italy, this shallow, thin-walled alabaster bowl is new and was created and designed by a member of a multi-generational family of alabaster and marble craftsmen. Classic and...

Drop rim bowl by renowned ceramic artist Warren MacKenzie 20th Century Glazed stoneware shallow form vessel on footed base with decorative incised detailing 11 inch diameter 4.25 i...

Gustavsberg Argenta was a series of stoneware objects designed by Wilhelm Kåge for the Gustavsberg pottery company in Sweden. Wilhelm Kåge (1889-1960) is one of the most well-known ...

A vintage ceramic bowl in a textured volcanic blue and green glaze made by Marcello Fantani for Raymor, Italy. Artist: Marcello Fantoni Distributor: Raymor Year: 1950s Origin: It...

New and hand made in Italy by Rina Menardi, this cup-form bowl or vase stands just under 11” tall and has a pale pistachio green glaze. Streamlined shape with thin, glazed porcelain ...

Leather-bound wastepaper basket in the form of a book binding

Custom made for us in Italy, this white alabaster platter or shallow bowl has gray veining and is in the form of a leaf.

Large substanial thick walled Lucite fruit or center bow. Astrolite line produced by Ritts co. . Biomorphic shape brings to mind a wave crashing onto the shore

An amazing classic Steuben glass bowl from artist Donald Pollard. This small crystal bowl features an elegant thin rim, leading down to three looped...

This striking blue aurene bowl from Steuben Glass Works was crafted between 1903 and 1932, a period marked by the innovative vision of Frederick Carder. The bowl, shape #2851, showca...

A stunning crystal glass piece designed by George Thompson for Steuben glass company. This 1953 item numbered 8063 features a wide, shallow bowl with a rippled glass base. This piece...

Rarely seen wall mounted teak salt ball. Wood base hooks to wall lathe turned teak wood ball swivels to pour or scoop out salt. Marked ESA Denmark.

A rare laminated bullseye bowl by Rude Osolnik Osolnik Originals USA 1984 Unusual turned form executed in laminated Baltic Birch plywood with bullseye detail Signed to underside 6...

Large organic centerpiece bowl by American craftsman Bob Womack circa 1990s Maple burl free-form design with live edge underside and polished interior Sig...

19th century monumental English harvest basket, great at the foot of a bed or amazing coffee table.

A grouping of 3 bronze biomorphic decorative bowls by Jonathan Adler Retired design model 13020 circa 2012 Graduated size and varied organic forms in bronze with gold interior Impre...

Charming Handwoven Nantucket Style Basket

For your consideration is this vintage Steuben Crystal Peony footed bowl/dish designed by Donald Pollard in the 1960's, signed on the base. Dimensions:...

Custom made for us in Italy, this compote is made of alabaster and contrasting bardiglio marble, has a 9” diameter and stands 6” high.

Large Cenedese Murano Signed art glass bowl in swags of blue with gold dust And controlled bubbles. Engraved Signature as shown on the bottom.

Nicely turned burl wood bowl. Turning and sculpting done in a way to highlite the natural inclusions of the burl and bring out the beauty of the organic form.

New and hand made in Italy by Rina Menardi, this cup-form bowl or vase stands just under 11” tall and has a soft black glaze. Streamlined shape with thin, glazed porcelain walls and ...

Found in Italy, this circa 2010 Murano glass tazza or pedestal bowl is marked Roberto Cavalli on the base. This pale amethyst pedestal bowl is 8.5” high and 16” diameter with subtle ...

Pink glazed Roselane pottery bowl with free form swirl and Fish Design in black . Exterior of bowl in matte black finish stamped Roselane on underside...

New and hand made in Italy by Rina Menardi, this cup-form bowl or vase stands just under 11” tall and has a dark teal green glaze. Streamlined shape with thin, glazed porcelain walls...

New and handmade in Italy by Rina Menardi, this tall, cup-form bowl or vase stands over 12” tall. Narrow and tapered at the base, the vessel widens at the top and features thin porce...

Pair of Finnish bowls. Lathe turned stacked laminate wood.

Large circa 1980s pedestal bowl in blue, white and pale brown glaze with leaf and rope braid motif by Maitland Smith. Square pedestal base supports a bowl just under 15” diameter wit...

Large bowl with light sap wood and dark edges. Excellent accent for modern design interiors. Flowers gourds glass objects all show well in this organic form.

USA, 2007 Handcrafted wooden bowl. Stamped on base 'Handcrafted by Robert L. Frantz 2007'. Beautiful detail to this handcrafted piece in medium wood tones. A great piece for styling,...

Signed Leon Applebaum Art Glass Bowl Large studio art glass bowl by Leon Applebaum circa 1980s Pinwheel design of purple green and pink Etched signature to underside Additional In...

Tall late 19th-early 20th century English oak barrel with four polished brass bands. Unknown maker. Other similar styled English barrels in various ...

Diloirenzo carved tree trunk center bowl, great form and color, signed on bottom.

The ceramic charger with scalloped edge is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed on verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

Beautifully formed long tapering Rosewood dish . Hand carved from single solid piece of Rosewood . Unsure on its origins .

We are very pleased to offer a striking vintage brass bowl, circa the 1960. This piece features intricate cut-out designs in the form of stylized Asian characters and motifs, adding...

Nicely turned and crafted Blonde wood vessel . Signed on underside Alan Raelston , Spalted Pecan .

Smaller size Dansk bowl. One I have never seen. Turned teak wood. Fine condition possibly never used. Marked JHQ Dansk Denmark.

Very nicely made and crafted boomerang or flying V-form hammered copper bowl.

A modernist stoneware glazed ceramic tea pot by Detroit artist John Glick of Plum Tree Pottery. Circa late 20th century. Glazed in earthtones. Artisisnal yet functional and makes a u...

Asymetrically shaped polished aluminum bowl on small walnut base . Interior has been powdercoated .

A contemporary hand blown art glass sculpture by Mark Eckstrand, circa 1990s. Signed on bottom. A decorative bowl design with curved etches and a base inspired by ocean motifs. Mark ...

Nicely turned maple wood charger. Concentric ring design in the manner of Russel Wright.

The ceramic charger is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed by the artist and stamped with Plum Street Pottery #129 on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

Rare Dansk Oval Teak Bowl by Jens Quistgaard for Dansk

Large size Bovine serving tray or charger . Fused glass on copper . The history of Bovano of Cheshire began in 1952, when artist Jim Bower began experimenting with powdered glass fu...

The ceramic bowl is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed by the artist and stamped with Plum Street Pottery on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

The Frantisek Zemek blue and yellow abstract glass sculpture with dual bowls is a captivating masterpiece that harmoniously blends form and function. Etched signature on bottom. Hand...

Turned biomorphic walnut bowl, Rude Osolnik Originals.

The ceramic charger is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed by the artist and stamped with Plum Street Pottery on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...