Decorative and Design

Continental, late 19th/early 20th century, each with central support of four narrow Corinthian columns and plinths with champleve plaques on frieze and base

Continental, late 19th/early 20th century, each with central support of four narrow Corinthian columns and plinths with champleve plaques on frieze and base

7.7 inches high, 1901. Amphora Oval Mark, impressed 3777, Mint. Illustrated in Monsters and Maidens Collectors Edition, Byron Vreeland, page 225.

Giust Gallery Caproni Reproduction of a Michaelangelo piece from the Bargello National Museum. Item #31.

Handsome & stylised sailboat model designed in mid-20th century, the sleek use of alternately hammered, pinned and riveted metal in shape around wooden elements neatly riffs on the form and fabrication of its namesake in miniature.

Austrian copper vase of unknown origin or date, but with a philosophical lineage to Jugendstil, or Art Nouveau, that suggests an early 20th century European manufacturing. The walls of the vase are formed of a hammered copper burnished to a rosy hue, as popularly deployed over the lifespan of the movement, and elegant breaks and movements in structural elements are created with simple use of line and small naturalistic additions — including two figuratively bird-like handles.

Door knocker with a brass sign that reads: Please Knock Gently. Depicting a nude bearded gentleman with spread legs, his testicles serve as the knocker which rest on the brass plaque. In overall good condition with light nicks and scratches consistent with use. Plaque with moderate scratches and nicks.

“Head Shakers” adds whimsical function to Zacher’s figurative ceramics, the elegant and stylised sculptural portraits redeployed as salt shakers with a few small piercings in the crown of the head. Much of Zacher’s work takes on a combinatory study of tragedy and comedy in human expression, forming caricatures that extend and meditate on subtle emotive or gestural commands conveyed in the language of the body. The choice of porcelain as a medium, combined with the delicacy of the figures framing, comments on a fragility that jostles and influences this psychological accent.

Hedghog crocus pot from the celebrated English ceramic firm, modelled by Ernest Light and completed in black basalt in the early 20th century or possibly late 19th century in origin. Josiah Wedgwood introduced into production a black stoneware body in 1768. The first trials for Wedgwood's new black body had begun by July 1766, even before the move to Etruria. By September 1767 his experiments were at an advanced stage, ready for production, and less than twelve months later black basalt wares were on the market. He called it ‘Black Basaltes'; we know it as black basalt. Made from reddish-brown clay which burned black in firing, this ceramic body was superior in its appearance to the local 'Egyptian Black' wares produced in the area prior to that date.

Black Basalt Helmet Pitcher, England, late 18th century, attributed to Wedgwood, with Bacchanalian boys in relief above engine turnings, unmarked Late 18th century pitcher completed in black basalt and attributed to Wedgwood. The piece takes an elegantly classical ewer shape, with high rising spout and handle that descends to a curving ornamental base. Bacchanalian boys surround the body in relief above engine turnings.

Hobbit floor lamp, key West, Fl, 2014; touch- cut, Welded, and patinated steel, indicator light covers; Signed and Dated ; 76" x 16"

Figurative door stop from pre-eminent industrial designer Russel Wright, often credited for introducing modern design to the average consumer within the first half of the 20th century. The ‘Hokus’ piece abstracts and poeticises the form of the elephant balanced on a ball, cast in brass then plated in a thin layer of nickel. the piece developed as part of a series of interior objects fashioned after circus animals. Elephant doorstop - Nickel plated brass, lead - 2 1/4 inch holes in base