Decorative and Design

Ohio sculptor Falcione came to his practice through conceptualism, and though his works have settled into functional objectivity —focused on producing art for the interior — they hold a vestige that is exchanged in the language and understanding of the material. The ‘Bud Vase’ naturally assumes a plantlike form and resolve, the surface of the porcelain gently roughened from a process in which the vessel is dipped in hot beeswax, the depth of texture heightened through a selection of delicate stain applications in which the colour appears to have alchemically fused with the clay rather than simply sitting on top.

Ohio sculptor Falcione came to his practice through conceptualism, and though his works have settled into functional objectivity —focused on producing art for the interior — they hold a vestige that is exchanged in the language and understanding of the material. The ‘Bud Vase’ naturally assumes a plantlike form and resolve, the surface of the porcelain gently roughened from a process in which the vessel is dipped in hot beeswax, the depth of texture heightened through a selection of delicate stain applications in which the colour appears to have alchemically fused with the clay rather than simply sitting on top.

Tall bulbous lobed vase, matte green glaze, pooled charcoaling.

Gouda is a style of Dutch pottery named after the city of Gouda. Gouda pottery gained worldwide prominence in the early 20th century and remains highly desirable to collectors today. Gouda pottery is diverse and visually distinctive in appearance, typically illustrated with colourful and highly decorated Art Nouveau or Art Deco designs. Six pieces: Two Nova claret jugs (1925), Dorian planter (1925) and low bowl (1923), and Indus vase and lantern (c.1930)

Bulldog from the celebrated English ceramic firm, modelled by Ernest Light and completed in black basalt with distinctive glass eyes in the early 20th century. 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. Provenance: Property of the Saint Louis Art Museum, Sold to benefit the acquisition fund. Elephant with tusks restored. Bear possibly a later model.

Bulldog from the celebrated English ceramic firm, modelled by Ernest Light and completed in black basalt with distinctive glass eyes in the early 20th century. 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. Provenance: Property of the Saint Louis Art Museum, Sold to benefit the acquisition fund.

Louis XV-style Kingwood-veneered and Ormolu-mounted Bureau Plat, mid-19th century, possibly by Charles-Guillaume Winckelsen (1812-71), bearing remnants of two ovoid stamps to underside, with tooled and gilded leather-inset writing surface framed by crossbanded veneers above a frieze with two drawers, raised on a cabriole legs with ormolu mount cast and chased as a female putti seated on a scrolled pediment, terminating in sabot-mounted feet.

Massive burlwood and mahogany credenza, interior drawers and shelves.

Buttressed spherical vessel, green glaze with charcoaling.

GREG BLOOMFIELD (b. 1959) Illuminated display cabinet, New Zealand, 1999; Mahogany, curly maple, patinated metal; Signed Bloomfield 99; 76" x 42 1/2" x 23" Provenance: Scott Jacobsen Gallery, New York Excellent condition.

English Calamander Work Box, late 19th/early 20th century, brass-bound, with central shield on lid lifting to reveal leather-lined dividers and compartments, fold-down front, the interior with fitted velvet-lined tool compartment; two drawers: one vacant, one with dividers, "Ellinger & Co. Newcastle" inscribed in interior

Swid Powell