107 results for "eames"

Charles Eames Leg Splint In Original Paper Wrapper Evans Products Company And Is Sealed. 1 Splint Designed by Charles And Ray Eames For The N...

Very rare Eames flag from the 1964 World's Fair in Queens, NY. These flags were designed to sit atop the pavilions Eames Office designed for IBM. Only two pavilions are known to exis...

Charles Eames Leg Splint In Original Paper Wrapper Evans Products Company And Is Sealed. 1 Splint Designed by Charles And Ray Eames For The N...

One of the nicest examples I ve owned in quite a while, stunning figured birch plywood, circa early 1946-1947, L C W (Lounge chair wood) designed by Charles and Ray Eames, Manufactur...

These are miniature examples of the Eames designed stools. There are 3 different examples. These are crafted in mahogany. They were manufactured by Herman Miller. They come with the ...

First generation, circa 1950 Charles and Ray Eames. Museum quality, sea foam green arm shell lounge chair made by Zenith Plastic Co./ Herman Miller. Features amazing exposed fibers, ...

1 Leg Splint In Original Paper Wrapper, Evans Products Co., And Is Sealed. 1 Leg Splint Designed For The Navy, For The United States Of America, Made Of Birch Plywood In 1943. Stock...

The artist, Elliot Eames Saarinen, son of Eero Saarinen, inspired by his grandmother Lilly's tender homage to her mother, Grandma Susie, created this sculpture to honor the timeless ...

For your consideration a collectible vintage or antique small wooden box, likely intended for storing trinkets, cigarrets or as a decorative desk accessory. It features a distinc...

A beautiful white matte op art relief porcelain vase from the 1960s, designed by Martin Freyer, executed by Rosenthal, Germany. In very good condition.

Beautiful, large, original 1960s brass sunburst wall clock by Junghans ATO-MAT. Very beautiful, elaborate mid-century design. Battery-operated with a new clock mechanism. Dial with R...

Blue and white Soholm bird relief designed by Gerd Hiort Petersen, circa 1960-1970. This beautiful ceramic sculptural relief is captivating and whi...

Chinese Export Mid Century Black cloisonne ginger jar featuring large scale chrysanthemum flower. Hand Made.

Provenance: Wright Modernist 20th Century, auction 12/7/2003, Bertoia worked with the Eames' in California in the late 1940s to develop their wire form chairs. His involvement led...

2x Mid-Century Modern massive brass bull bookends, 1960s

1950s Vintage Mid-Century Danish Modern Smith United Kingdom Teak Bentwood Footed Desk Mantle Clock $650 1950s Very Rare, Hand Molded, Teak ,Mid Century Modern, Battery Operated, El...

Circa 1965. 18" cubed. This planter was obtained from a bank in WV that also featured doors by David Gillespie of Forms and Surfaces - the company that was previously known as panelc...

Mario Bellini for Bitossi / Raymor Rimini Blue Floral Jardiniere This beautiful mid-century modern floral jardiniere was designed by Mario Bellini, made in Italy by Bitossi, and imp...

A stunning and rare Bay Keramik vase finished with renowned designer Bodo Mans's 'Reims' décor (1958). BODO MANS was born in 1935. From 1949 to 1951 he apprenticed as a window dresse...

An iconic and authentic George Nelson for Howard Miller Mid-Century Modern Starburst Clock with its original stamp / maker’s mark intact. Measurements: 19.5ʺ wide, 2.5" deep and 19....

SALE ONE WEEK ONLY UNTITLED is an abstract blackened steel sculpture that has a continuous lively movement. The positioning of the heavy metal is suggestive of dance. There are similarities to the sculptors, Robert Sestok and Tony Smith, who both worked in bronze and painted steel with similar cut out pieces and abstract designs. Untitled has a joyous aura and its small size makes it a charming intimate piece. It might have been a maquette for a much larger piece. The design works in this 14" height as it would in a 14' height. There is a Letter of Certification that will accompany the sculpture. Tony Rosenthal (1914 - 2009) is best known for creating a staggering list of monumental public art sculptures. For over seven decades Tony Rosenthal created an arc of sculpture in a variety of sizes, styles and media, including wood, steel, bronze, brass, cement and aluminum. Every day millions see, enjoy and interact with art created by Rosenthal in cities around the world. In New York City alone, five Rosenthal public art sculptures have been beloved and visible 24/7 for over four decades, yet Rosenthal is not a household name. Art dealer Joseph K. Levene, told The New York Times, Tony Rosenthal "reminds me of a character actor. You know the face but not the name. With him, you know the art." Tony Rosenthal dedicated his life to creating art and actively created sculpture everyday in his Southampton, New York studio until he passed away at the age of 94, July 28, 2009. At nine Rosenthal learned the fundamentals of carving sculpture when his mother, an opera singer enrolled him in children's classes at the Art Institute of Chicago where he learned how to carve sculptures in soap. In 1936 Rosenthal earned a B.F.A. from the University of Michigan, and in 1952 became the first instructor of sculpture at the University of California, Los Angeles. In 1950 Rosenthal was recipient of the San Francisco Museum of Modern Art’s sculpture award; in 1967, Rosenthal received the outstanding achievement award from the University of Michigan and in 1963 a Ford Foundation Grant. 
After graduating from the University of Michigan, Rosenthal became studio assistant to Alexander Archipenko, the figurative master sculptor, casting bronzes in exchange for sculpture lessons; at night, Rosenthal taught evening classes in drawing and sculpture. In 1939, Rosenthal enrolled at Cranbrook Academy of Art, studying with Carl Milles, Cranbrook's sculptor in residence; there, Rosenthal forged friendships with husband and wife designers Charles Eames and Ray Eames and the sculptor Lilian Swann Saarinen the wife of architect, Eero Saarinen.   Decades later Rosenthal acknowledged his gratitude to Cranbrook by donating his archives to them. The Cranbrook Cube, 1984, a 90" painted aluminum cube is in the Cranbrook Museum collection. In 1942, Rosenthal was drafted into the U.S. Army; while stationed in Paris Rosenthal forged friendships with George Braque, Andre Derain, Le Corbusier and Constantin Brancusi, routinely organizing and accompanying groups of soldiers on studio visits. Through multiple visits to Brancusi's Paris studio, Rosenthal learned to create and forge metal sculpture...

"Untitled" (Bush) Sculpture by Harry Bertoia, circa 1970's made of welded bronze. Harry Bertoia, was an Italian-born American artist, sound art sculptor, and...

A monumental four foot tall Sonambient sound sculpture titled 'Sound Screen' by Val Bertoia, dated 2013 and signed, stamped, and documented by the artist. This large-scale example, n...

Vintage 1970s Mid-Century Modern Bruce Fox motivational desk accessory 3D Font " Excellence " in gold anodized aluminum. In fine condition, maybe needs to clean a little better, mino...

There’s trench art, and then there’s toilet humor - this is a little bit of both! Creative & fun sculpture composed of a copper toilet float, mounted on ...

A mid-century miniature sculpture set depicting a family of elephants. This miniature set made in Italy during the 70s combines two Italian peculiarities, the great skills of Italian...

Whimsical "paper bag" made from cast metal from California Bronze. Would make for a fun decorative piece in any interior. Photographed atop a Cappellini sid...

Wonderful 1950s Mid-Century functional design, and incredible ingenious and sculptural form. This piece is unique and rare. Created in metal mesh, the base floats in symmetry as it...

Wilhelm Kage Gustavsberg Argenta geometric midcentury abstract ceramic vase With silver decor. Signed as pictured. Very desirable complicated design.

This 50" tall articulating folk art wood figure is a medium sized wooden mannequin designed with lifelike proportions. Its smooth, natural wood finish showcases the grain and texture...

Beautiful hand painted multi color charger with large heart. Measuring seventeen inches in diameter, it makes for a great center piece or display. Signed J. Myers 94 and photographed...

Simplistic Native American pink granite sculpture on wood base. Piece is signed. Photographed with Eames chair for scale. Wood base photographed darker. See photos.

Wonderful Mid-Century Modern abstract Brutalist cast aluminum sculpture dating from the 1960s. I cannot find any signatures or marks but made very well. Wonderful form and design. In...

Set of Floor Ashtrays Brown Leather and Brass Mid Century Standing Portable Pair Mid-Century Modern Period Wear consistent with age and use. DIMENSIONS H...

Piero Fornasetti vintage ceramic storage jars, Italy, 1960s. Flour, coffee, tea There is a sugar one as well from the same collection but ...

Blue brown ceramics brass ice bucket pitcher French Italian LaBorne Quimper vase Set of six brown and blue decorative objects. Three are by Odetta Quimper from 1930s and 1940s, One is La Borne One blue with brass parchment ice bucket (Aldo Tura attr.), One brown with brass parchment carafe (Aldo Tura Attr.) Blue and grey ceramic covered box: 3.5 inches wide, 4 inches high La Borne vase: 7.5 inches high, 4 inches wide at base, 2.5 inches wide at top Odetta Quimper small round vase...

The "Untitled" abstract sculpture by Robert Sestok has a very deliberate aura of strength in its columnar shape. Upon closer inspection details emerge su...

Gabriella Crespi brass pill cigarette card box Italian, 1970s Measures: 4.4 inches wide on each side 0.3 inches deep Born in 1922, Gabriella Crespi studies architecture at the Poli...

Gabriella Crespi signed brass chalices 1970 midcentury Italian Dimensions: 3.5 in diameter, 7 in height, base 3 in. About Gabriella Crespi (Designer) Bronze discs that open up like clamshells for storage and fold back in to become side tables. Sleek cubes barely suspended off the ground that transform into full-size dining tables. Clean-lined boxes that contain multilevel shelving. Looking at the work of Italian designer Gabriella Crespi, born in 1922 and still producing furniture in her Milan studio, it’s hard to believe that many of these highly functional pieces — modernist Rubik’s Cubes of materials, colors and ergonomics — were created decades ago. Among her best-known creations, the bronze Ellisse table, 1976, and her bronze-and-lacquer Yang-Yin bar, 1979, encapsulate a designer who had a strong dualism in her vision, mixing humble and precious materials, for instance, or creating geometric shapes that were softened by sensual surfaces. Crespi began studying architecture in 1944 at the Politecnico, in Milan, where she was among just a handful of women, and became profoundly influenced by the work of Le Corbusier and Frank Lloyd Wright. After getting married and having children, she launched her own collections, from jewelry to furniture, and soon gained a loyal following, with design houses such as Maison Dior snapping pieces up for their own lines. She began work on her most iconic collection, “Plurimi,” in the late 1960s, and the series — including her Dama table...

Two of the most elegant and important ceramic works of Vallauris artist, Marius Musara (France, 1910-1991). These French Mid-century Organic Modern sculptures or vases are beautiful, handmade, objects transposing dramatic size with a pure, sober, timeless form. In 1988, Musara was the winner of the International Biennale of contemporary ceramics, the top pottery prize in the world. The pieces are priced and sold as individual pieces. Sizes are: H 31.5 x D 8 and H 23.25 x D 10. Signed on bottom "Marius Musarra...

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...

Very elegant and refined centerpiece/ice bowl made of Murano glass, Made in Italy, 1950s.  Large Murano glass centerpiece vase with very distinctive shape hand-blown in the style of ...

An amazing collection of German ice block glass Mid-Century Modern "Solifleur" vases, circa 1960s. These are heavy glass items in clear glass, outside like ice glass. There is a smal...

Beautiful brown abstract terracotta sculpture, 1960s, reminding works of Henri Laurens. Great patina. . France. . Dimensions : Dimensions : 30 cm x 30 cm x 25 cm . Weight : 10.5kgs....

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...

Mid-Century Modern Organic Round Stoneware Vase, Denmark, 1960s Danish stoneware vase in an organic round form, handcrafted by an independent ceramic artist in the 1960s. A fine exa...

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...

Enrique Garcel tesselated bone shell lacquer brown brass candleholders, 1970 1980. Four candleholders that each have a different type of organic materia...

'Masai 0.3' is a unique wooden sculpture by the British artist, Donald Baugh. Donald Baugh was born in London and from the ages of one to eight lived in Jamaica with his grandparent...

Pair of patinated candle holders designed by Carl Aubock in 1948. This signature piece from the Auböck collection is hand made manufactured in Vienna Austria workshop ever since 1948...

The Ceramic Garden Planterette 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. The piece is signed by Glick and stamped with the name of his studio: 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...

This is a Brazilian Rosewood Wastebasket, designed by Einar Barnes for P.S. Heggen in around 1963. This piece dates to around the same time. It features a facade and an interior that...

Midcentury studio pottery vase with crystalline glaze - hand made featuring a wheel thrown white clay body with artistic distribution of crystal formations within the beige glaze - u...

A beautiful minimalist Mid-Century Modern vase or decanter, "Tuberkulinkolben" designed and executed by Carl Auböck II in the 1950s. This piece is made of handblown clear glass and f...

A set of eight beautiful stoneware vases with amazing and rare glaze. Designed by Gunnar Nylund for Rorstrand, Sweden, 1950s. Excellent condition. Incised signature "GN" and maker...

Mid-Century Modern Architectural Pottery sculptural "Double Cone" Planter by LaGardo Tackett , rarely seen double cone version with wider base than top in a white glaze. Provenance 1960s MCM building of the Odd Fellows Association Hall - St. Louis. It was used with sand for an ashtray , seen in photos 5 & 6. The 1960s MCM modification to an existing building was designed by architect William E. Duncan and demolished in the summer of 2020. Duncan not only selected these planters , the entire hall, had Saarinen , Eames, Nelson, Howard Miller and Nessen designs. The condition is good, only with minor scuffs, no chips and light staining to interior as seen in photos. Stamped Architectural Pottery made in the USA. When the planter is on its side, it reminds me of the famous brass drawer pull on Paul McCobb designed furniture. Building & Rendering Odd Fellows Association Hall at 3765 Lindell Blvd, St. Louis Mo. designed by William E. Duncan and Associate Architect Lawrence H. Smith , Delineation by Harry A, Osborn Demolished in 2020 If your into Architecture, Search for this MCM church...

Stunning two-tone glazed vase by Mari Simmulson for Upsala-Ekeby. Grey outer-yellowish green inner glazing. Photographed with Bertoia side chair and Eames LTW for scale.

Apogee De La Geometrie Curviligne" Folio A rare publication of a catalogue for an exhibition of European mid-century design in October 1983 which was wide ranging in the exhibits on ...

Vintage hand-carved wood head. Presidential pose - somewhat reminiscent of Andrew Jackson. Artist unknown. Striking details, and standing 13” tall. Photographed with Eames dowel leg ...

A nice high quality Neo classical grand tour homage by Theodore and Alexander. It features a specimen compote mounted on a beautifully cast bronze base and then mounted on marble. It...