Kiwano Concept Decorative Bowls

A hand carved marble floral bowl with a swivel base. Ornately carved, the bowl gyrates on its base. A singular, elegant addition to any coffee table...

Memory, made in Red Levanto marble, designed by Cristiforo Trapani Contemporary chefs love to construct their culinary creations to enhance their impact; it’s not difficult therefore, to imagine they also love to create the props. Cristoforo Trapani, chef of Magnolia, the stellar restaurant at the Hotel Byron in Forte dei Marmi, has translated his culinary creativity to design. These two worlds meshed instantly: at the table or on a sideboard, his tiered cake stand PRE, hosts sweet and savoury finger food to be offered to guests in a creative and unexpected way. The bread basket of the Apuan Alps, in white or black marble, is ready to cradle the great Italian bread making tradition; the artichoke brazier is his chef-d’œuvre, and the soup tureen, are all objects of a simple cuisine that is redolent of lemons, sea and sun. They are not limited to functionality, but gleam with the marble’s calcite. From stellar kitchens to the table. The Memory bowl...

This a Georgian, early 19th century Deep Dish or Pie / Serving Dish made by Mason's Ironstone in the small vase, flowers and rock gilded chinoiserie pattern, dating to circa 1815. T...

For all dog lovers. Design your own dog bowl with the portrait of your dog and the name. You can choose the color of letterning name and the color of the rim. Please send us the phot...

Ceramic three-level fruit bowl originally designed by Marco Zanini in 1985 for Memphis Milano. The three geometrical shapes in three colors complete the idea of a trilogy. Marco Zan...

Crystal bowl, Poland, 1960s. Dimensions: Height 12 cm, width 25 cm, depth 13 cm.              

Murmansk Fruit Bowl in Brass with plated Silver. The "Murmansk" is a fruit bowl is one of the first designs produced by Ettore Sottsass for Memphis in 1982. The sleek bowl is plated silver over brass, and sitting on six stepped legs...

The Kariba fruit bowl was originally designed by Matteo Thun in 1982 for Memphis. Born 1952 in Bolzano, Italy. Matteo Thun studies under Oskar Kokoschka at the Salzburg Academy of A...

Lovely vintage French crystal candy dish or bowl. Decorated with amber hues giving a great contrast to the clear crystal. Use this bowl fo...

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...

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...

Carlo Moretti Vola mouth blown Murano glass bowl in clear glass with orange, white and red trim.