Nathalie du Pasquier Serveware, Ceramics, Silver and Glass

La Bocca bowl by Marcela Cure. Dimensions: W 32 x D 22 x H 26 cm. Materials: resin and stone composite. Our La Bocca bowl is inspired by the fascinating and provocative figure o...

We are delighted to offer for sale this lovely brand new air-dried beechwood fruit bowl on nicely turned base We have cleaned waxed and polished it from...

Bowl in brass. This sublime cast brass mass is all wrapped up, giving rise to an exquisite fruit bowl. Something akin to the treasure found at the end of a rewarding peregrination. T...

Danish hand carved teak serving / fruit bowl with exquisite grain and an impressive size: H: 5.13" x L: 18.63" x D: 11. Excellent, vintage condition with only a few light spots of f...

A Storck & Sinsheimer, Hanau, Germany, c.1880, silver fruit bowl with elaborate baroque style repousse fruit motif panels between florid, pierced panels....

Mid-century Italian polished marble fruit bowl / centerpiece, circa 1970s. The bowl is in very good vintage condition and is 9.5" in diameter and 5.75" high. It would make a great ce...

A Scandinavian Modern large scaled and beautifully crafted staved teak bowl having a subtly flaring round form. Designed and manufactured by Richard Nissen in Denmark, circa 1960s.

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...

Oh Signore! Is a table centrepiece. The symbol of the cross is reworked and reinterpreted by assembling pieces of an iron beam to form the shape of a cross. Ron Gilad is an Israeli designer who was born in Tel Aviv in 1972. He is fascinated by the philosophy of everyday objects. Although his design process itself is rigorous, his playful and emotional approach captures a sense of the absurd, explores the theme of disproportions and reflects his penchant for ironically challenging the preconceived meanings of things. Ron Gilad’s mission as artistic director of Danese Milano is to bring classic forms up to date and to reinterpret often overlooked household items to give them a whole new lease of life. Additional Information: Materials: Transparent coated...

A turned bowl in stained mahogany with a flaring conical form. Signed by the artist.

We are delighted to offer for sale this lovely large circa 1840 primate wood dugout bowl with twin recessed handles What a thing, the timber patina is absolutely sublime, this wou...

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...