Decorative and Design

Early 19th century Wedgwood plate, in Caneware with applied Rosso Antico fruiting vines in relief. The tan-coloured, unglazed stoneware was relatively rarely used for decorative or display objects over the period, more commonly used for cooking utensils or serving dishes — particularly a selection of game pie dishes — as Josiah Wedgwood recognised the ware’s potential for simulating an impression of pastry crust. Provenance: Property of the Saint Louis Art Museum, Sold to benefit the acquisition fund.

Wedgwood Green Jasper Dip Canopic Jar and Cover, England, 19th century, applied white bands of hieroglyphs and zodiac symbols in white relief, impressed mark, ht. 9 1/2 in.

Geometric mesh-form chair designed by Tom Dixon and manufactured by iconic Italian furniture company Cappelini in 1992. The choice of silhouette, echoing classical high-backed & winged chairs, compares and contrasts with the industrial and future-facing mode of production. Making firm a shape from empty space, the interlocking steel wire “pylons” providing a rigid and supportive surface in remarkably slight use of material — the result typical of Dixon’s style which first arose as the designer learned to weld and self-issue works in the early to mid-1980s around a wave of post-punk and D.I.Y. influence. Pylon armchair, Italy, 1990s; Enameled steel; Unmarked; 55 1/2" x 26" x 21" Provenance: The Sullivan Estate Sale, LAMA, December 14, 2008

Two glazed carved porcelain vessels, one with ears of corn, other with koi, California, 1990/1999; Both signed and dated; 8" x 8", 3 1/2" x 5 1/2";

Cat 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.

Towers’ ceramic vase recovers notions of identity through off-cuttings of sexual and biological form, twisting and merging them into abstracts that might residually refer to the pomp or decadence of 18th century ceramic design in a contemporary fashion. The “Catastasis” series particularly seeks to maintain the integrity of the vase as its base whilst exploring these notions, the choice of scale specifically chosen to mirror average human heigh. The flute or neck of the vase is twisted and braided in a close proximity to hair or contorted flesh — the threaded stems of this particular item flourishing in lush ringlets that Towers affixes to notions of male virility and an erotic lure.

Industrial meets chic; the body of this French floor lamp, designed to resemble heavy-duty chain link and hooks cast in steel, artfully plays with centres of gravity and a mechanism that suggests some manner of inverted suspension.

Design Konstantin Grcic, 2003 Treated aluminum, polyester powder coat Made in Italy by Magis

Design Konstantin Grcic, 2003 Treated aluminum, polyester powder coat Made in Italy by Magis

Design Konstantin Grcic, 2003 Treated aluminum, polyester powder coat Made in Italy by Magis

Design Konstantin Grcic, 2003 Treated aluminum, polyester powder coat Made in Italy by Magis

Chalice ca 1990 Raku and Mixed Media; ht. 7, dia. 5.25 in. Artist signature incised on base. McCormick received her BFA in 1971 at Florida Atlantic University. She continued to study at Memphis Academy of Fine Arts, Wichita State University and Ashland University. Exhibited widely, McCormick has received numerous awards.

Steubenville Pottery

Steubenville Pottery