{"title":"DÉCOR","description":"","products":[{"product_id":"irving-harper-model-2213-asterisk-for-howard-miller-1964","title":"IRVING HARPER MODEL 2213 ‘ASTERISK’ CLOCK FOR HOWARD MILLER (1964)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA model 2213 'Asterisk' clock designed by Irving Harper, working under the auspices of George Nelson Associates, for HOWARD MILLER in 1964.  Harper was a prolific, innovative, and creative artist in his own right; indeed much of Nelson's best-known work was executed by Harper, including some of its most iconic furniture pieces—for example, the 'Marshmallow' sofa and the 'Coconut' chair—in addition to most of the clocks.  Nelson began creating clocks for HOWARD MILLER in 1947.  It is estimated that there are over 150 designs.  The first of these was the famous model 4755, aka the 'Ball' clock.  All the clocks were electrical.  Wall clocks were available with a cord and plug or as a \"Chronopak\" which mounted directly into a standard outlet box.  HOWARD MILLER discontinued the Nelson clock line in the 1980s.  (It was reissued by Vitra in the following decade.)  The 'Asterisk' was originally available only in black or white, though other colors were later added.  The clock on offer has its original electrical cord.  Its body is in excellent vintage condition except that the paint on the hour hand is abraded in one spot where years of friction from the minute hand have left a mark [see photo].  Label on the back and plate on the front.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eStyle – \u003cspan\u003e\u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Year – \u003cspan\u003e\u003cb\u003e1964\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eIRVING HARPER (1916-2015)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eHERMAN MILLER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eENAMEL\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, STEEL\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eWHITE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAdditional Condition Details – \u003cspan\u003epaint on the hour hand is abraded in one spot from years of friction against the minute hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e10.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e3.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845974532,"sku":"IRVING HARPER MODEL 2213 'ASTERISK' CLOCK FOR HOWARD MILLER (1964)","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/asterisk-clock-by-irving-harper-for-howard-miller-1960s-1.jpg?v=1670717957"},{"product_id":"09-17-aldo-tura-milano-aschenbecher-bezogen-mit-lackiertem-ziegenleder-goatskin","title":"ALDO TURA LACQUERED GOATSKIN VIDE POCHE WITH METAL INSERT","description":"\u003cp\u003eFrom the Lombard workshop of Aldo Tura, a handmade vide poche of solid maple, covered in a greenish-gray, lacquered goatskin veneer, with an insert of chrome-plated brass. The beautifully crafted vessel itself is in excellent vintage condition—the chrome in the interior center of the insert has been worn away, revealing the brass underneath. There is no flaking. The luxe materials and emphatic spirit of glamorous hospitality are both typical of Tura's work. For the collector. . . .\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO TURA (1909–1963)\u003c\/b\u003e was born in 1909 and began making experimental furniture by hand in the 1930s. He established a factory in 1939 outside of Milan, in the town of Lazatte. Working between the idioms of Art Deco and modernism, Tura created singular, high-end pieces, characterized by rich materials and artisanal production techniques. He was a unique design talent of the Italian mid-century; apart from his work, little is known about his life.\u003c\/p\u003e\n\u003cp\u003eTura employed a wide range of unusual materials, including eggshells, parchment, and goatskin in his designs. Bar cabinets in various sizes and with different functionality—from delicate trolleys to large, tiered, case goods—represented an important focus of his workshop, complemented by accessories such as ice buckets, carafes, ashtrays, and cocktail shakers, frequently covered with lacquered goatskin.\u003c\/p\u003e\n\u003cp\u003eIn the postwar years, as many designers were adjusting their methods to facilitate mass production, Tura remained committed to slow, traditional hand-craftsmanship. The complex forms and labor-intensive processes that he favored could never be adapted to large-scale factory systems. As a result, the number of works by Tura available on today's vintage market is limited, and his output, in turn, has become highly collectible, especially examples with exotic finishes in intense palettes of red, yellow, and emerald green.\u003c\/p\u003e\n\u003cp\u003eThere is some difficulty positioning Tura in the context of modernism. His work is simply too luxe and decorative and too labor-intensive. The Brooklyn Museum in New York City has shown some of his works. He died in 1963. The Tura company in Lazzate, which continued to produce furniture based on his style, ceased operations in 2014.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO TURA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eALDO TURA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eART DECO; HOLLYWOOD REGENCY; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, CHROME, GOATSKIN, MAPLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGRAY, GOLDENROD, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition with some wear to chrome as may be expected from age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" DIAM. × 3 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14210384429098,"sku":"ALDO TURA LACQUERED GOATSKIN VIDE POCHE WITH METAL INSERT - ITALY","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240127_105245-01.jpg?v=1706383733"},{"product_id":"villa-collection-denmark-tabletop-sculpture","title":"VILLA COLLECTION DENMARK TABLETOP SCULPTURE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn intriguing, hand-made, metal tabletop sculpture on a wooden stand from VILLA COLLECTION DENMARK, a retailer\/distributor of fine, handcrafts for the home.  Probably dating to the early '80s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1975-1984\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eMETAL\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WOOD\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e23.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e16.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e4.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":29611580948522,"sku":"VILLA COLLECTION DENMARK","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-1338.jpeg?v=1568397903"},{"product_id":"studio-cellini-enamel-on-copper-wall-plate-pesaro-ital-y","title":"ENAMEL ON COPPER WALL PLATE BY UBALDO CINCIARINI FOR STUDIO CELLINI RAME d'ARTE PESARO","description":"\u003cp\u003eA large and beautiful wall plate of enamelled copper designed by Ubaldo Cinciraini for Studio Cellini Rame d'Arte Pesaro, Italy. The bottle and fruits decor was a favorite of the period and comes complete with a hanger attached for ease of display.  It is fully marked with the company label and the hand-engraved \"Cellini\" signature on the back.  Very minimal crazing is visible near the edge, as is a small flaw on the reverse side.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eUBALDO CINCIARINI (1940-2020)\u003c\/strong\u003e was an Italian enameller and embosser who studied his craft at the famous Ferruccio Mengaroni Art Institute in Pesaro, Italy before opening the \"Studio Cellini Rame d'Arte\"\u003cspan data-mce-fragment=\"1\"\u003e, also in Pesaro.  Cinciarini's output was considerable and everything was produced entirely by hand.  Each piece is engraved with the 'Cellini' signature on verso.  Ubaldo Cinciarini passed away in April of 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eUBALDO CINCIARINI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eSTUDIO CELLINI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Good — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eRestoration and Damage Details\u003c\/th\u003e\n\u003ctd\u003eLight wear consistent with age and use, Minor crazing and a single chip that does not show on display\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eEnamel, Copper\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eGreen, chartreuse, gold, red, orange, yellow, black\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e16.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e1.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31225981632554,"sku":"UBALDO CINCIARINI FOR STUDIO CELLINI, PESARO ITALY (41.5cm)","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/1609007722690-01.jpg?v=1609007977"},{"product_id":"gerhard-liebenthron-bremen-town-musicians-plaque","title":"GERHARD LIEBENTHRON “BREMEN TOWN MUSICIANS” PLAQUE","description":"\u003cp\u003e\u003cb\u003e\u003ci\u003eSome day you will be old enough to start reading fairy tales again.\u003c\/i\u003e – C.S. LEWIS (1898–1963)\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eA stoneware plaque from the German master Gerhard Liebenthron depicting the pivotal nighttime climax of \u003ci\u003eDie Bremer Stadtmusikanten\u003c\/i\u003e (the Bremen Town Musicians), as recorded in the 1819 edition of Grimms’ Fairy Tales. Liebenthron portrays the cast of aging, cast-off protagonists—the ass, the dog, cat, and cock—in an eerie twilight, \u003ci\u003eà l’attaque\u003c\/i\u003e. Bremen was home to Liebenthron’s studio.\u003c\/p\u003e\n\u003cp\u003e(Spoiler alert: though they never make it to the eponymous town, the musicians do manage to “live happily for the rest of their days.”) The brick red chamotte clay is characteristically incised on the reverse with Liebenthron’s initials and the production year: GL83 (1983).\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGERHARD LIEBENTHRON (1925–2005)\u003c\/b\u003e was born in the small town of Neustrelitz in northeast Germany and raised in Berlin. The zeitgeist of late interwar Germany remained a lifelong creative inspiration for him. Post-Weimar Berlin famously epitomized the clash of ideologies: Marxist Socialism, Capitalist Democracy, and the competing Totalitarianisms of Communism and Fascism. At the same time, Surrealism was dominating Europe’s art world, and its influence was felt around the globe. Artists such as Frida Kahlo and Diego Rivera in Mexico, for example, worked to integrate the movement’s ideas into their revolutionary credos. In this climate, the young Liebenthron first sought employment as a theatrical scene painter. The 1939 outbreak of WWII, however, thwarted this impulse. Having enlisted in the Nazi Wehrmacht, Liebenthron spent much of the war’s duration as a prisoner of the Allies. Following his release in the mid-’40s, he found temporary work painting ceramic vases; this happy encounter with clay would determine his future career as an artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1945 to 1951, Liebenthron studied in Bremen at the \u003ci\u003eStaatliche Kunstschule\u003c\/i\u003e (State School of the Arts) in the pottery class of Else Krieg and Dorothee Colberg-Tjadens. During his final year, he served as a sculptor’s assistant to Prof. Ernst Goersemann. In 1952, his schooling complete, he opened a workshop on the famous \u003ci\u003eBӧttcherstraße\u003c\/i\u003e, a historic market street in Bremen’s town center. Liebenthron’s early output consisted of arbitrarily shaped vessels and wall plates. The decoration was by turns expressive, abstracted, and figurative—or inconspicuous, ornamental, and color-intensive—evoking the work of the French artists of Vallauris (e.g., Roger Capron and Gilbert Portanier). His work was regularly presented in \u003ci\u003eDie Schaulade\u003c\/i\u003e and its successor \u003ci\u003eGestalt\u003c\/i\u003e, important arts and crafts journals of the day, from 1954 on. As early as 1955, he was participating in national and international ceramics exhibitions.\u003c\/p\u003e\n\u003cp\u003eLiebenthron switched exclusively to stoneware in the 1960s, seeking inspiration from rural German ceramics as well as various foreign traditions, especially the work of the Japanese, which was being popularized in Europe at the time. He produced a wide range of objects: from bowls, jugs, and vases on a domestic scale to larger, less functional pieces. His most monumental work seems to aspire to the status of sculpture. He was able to fuse East and West in ways that never devolved into pastiche.\u003c\/p\u003e\n\u003cp\u003eIn 1969, Liebenthron exchanged brightly colored glazes for thin washes of earthy pigments that suggest abstract calligraphy and drip painting. The range of forms he developed during these years demonstrates an impressive capacity to produce in the context of different styles while adhering to the rubric that won him his original notoriety: simple elegance and idiosyncratic form. Many of his pieces are highly sought after today, and his work can be found in several German museums: the Keramik Museum in Berlin, the Focke-Museum in Bremen, and the Hetjens Museum of German Ceramics in Düsseldorf. Liebenthron died in Bremen in 2005.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eGERHARD LIEBENTHRON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Year – \u003cb\u003e1983\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY; MODERNIST; EUROPEAN RUSTIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTAN, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ¾ʺ W × 1 ⅛ʺ D × 12ʺ H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":31344999858218,"sku":"GERHARD LIEBENTHRON 'BREMEN TOWN MUSICIANS' '83","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230622_112632-01.jpg?v=1687451852"},{"product_id":"ceramic-devil-mask-by-richard-freiwald-after-gio-ponti","title":"DEVIL MASK FROM FREIWALD ART POTTERY AFTER GIO PONTI AND DE POLI","description":"\u003cp\u003eA ceramic devil mask in a dark, gunmetal glaze by contemporary New Jersey ceramic artist Richard Freiwald, modeled after a mid-century Italian original by architect and industrial designer Gio Ponti (1891–1979) and enameler Paolo De Poli (1905–1996).\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eRICHARD FREIWALD (b. 1955)\u003c\/b\u003e is a celebrated ceramicist and educator from Highland Park, N.J., noted for his refined craftsmanship and evocative designs. His work has been widely exhibited in New Jersey and New York and is held in numerous private and museum collections around the world. Freiwald has earned the particular esteem of collectors who appreciate \u003ci\u003eobjets d’art\u003c\/i\u003e from the Art Nouveau and the American Arts and Crafts movements. His sometimes eccentric forms are made transcendent with the application of an astounding variety of experimental glazes.\u003c\/p\u003e\n\u003cp\u003eFreidland received an M.F.A. from Mason Gross School of the Arts, the arts conservatory at Rutgers University, in New Brunswick, N.J., in 1982. He began his teaching career in 1980, finally retiring in 2020 from the Pingry School, a prestigious prep school in Somerset County, N.J., after 32 years there.\u003c\/p\u003e\n\u003cp\u003eFreiwald has been the recipient of many honors, including grants from the National Endowment for the Arts and the Council for Basic Education, as well as the Geraldine R. Dodge Foundation, and has held three endowed teaching chairs over the years. Much of his work embraces a decided Jugendstil aesthetic, often accentuated and heightened by crossover sculptural themes rooted in nature, fantasy, and mythology.\u003c\/p\u003e\n\u003cp\u003eFreiwald is as much a technician as he is an artist, and he revels in the practical challenges involved in the creation of his art: the glaze chemistry, the firing schedules, and the difficulty of many of his forms, both the hand-thrown and the sculpted.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI am compelled to do this!\u003c\/i\u003e – RICHARD FREIWALD\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eRICHARD FREIWALD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e2010s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFREIWALD ART POTTERY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2010s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; MID-CENTURY MODERN; ART NOUVEAU\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eONYX\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eMint condition. No imperfections.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" W × 3 ½\" D × 19 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":31506075222058,"sku":"RICHARD FREIWALD DEVIL MASK AFTER GIO PONTI","price":889.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-1204.jpg?v=1587995384"},{"product_id":"jaap-ravelli-stylized-african-mask","title":"JAAP RAVELLI STYLIZED AFRICAN WALL HANGER (c. 1950s)","description":"\u003cp\u003eA very rare stylized native African wall hanger in unglazed dark brown clay with white detailing and coiled copper wire decorations by Dutch ceramicist Jaap Ravelli. These don't turn up very often, and this on is in excellent vintage condition. It retains its original label and is signed in the clay.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eRAVELLI POTTERY (1947-1977) was founded by Jaap Ravelli in Valkenburg (ZH) shortly after the end of WWII. The ceramics produced there are without a doubt some of the most recognizable in Dutch ceramics history of the twentieth century. Ravelli's company was responsible for a large number of mostly serially produced articles which played a major role in defining the design aesthetic of the post-war Netherlands. He was born in 1916 in Princenhage, and In his youth spent a few years in the Dutch East Indies and a few years in Curaçao. After training at the National Institute for Art Teachers in Amsterdam and a year at the Royal Academy of Art in Amsterdam, Jaap, together with his brother Dick (1919-1980), took the first steps in the early 1940s in the field of ceramics. At the start, they bought tiles from the Oosthoek roof tile factory and painted them to sell out of a studio on the Breestraat in Leiden. During the war, a building was rented in which a peat furnace was built and used to fire their own pottery. The first products were made here between 1946 and 1947, after which the company moved to Valkenburg where the 'Potterie Ravelli' was born. Jaap became the driving artistic force, while Dick dealt with business operations in the background.\u003cbr\u003e\u003cbr\u003eShortly after the war, there was a great need for consumer goods. This led to a proliferation of companies that produced products of varying quality with varying success. Potterie Ravelli also initially focused on crockery and simple vases. Because both owners had no experience in the ceramic field, many things had to be discovered and further developed along the way. In retrospect, one could say that the fact that the company developed in a non-conformist, non-traditional way may have been one of the most important factors in their success. Pretty soon, the emphasis o production shifted to better floristry and gift items, often packed in wooden boxes. The black and white figurines of animal and human figures in particular testified to the very innovative character of Jaap Ravelli as an artist. The growing prosperity in the 1950s ensured a favorable climate where design and originality matched perfectly. Ravelli's products were especially met with great popularity abroad in places such as Germany, Australia, England and the United States. Potterie Ravelli's success in the 1950s did not go unnoticed. His original products were soon copied by other companies, but without ever approaching the quality of the originals. In the 1960s, the emphasis of production was more on vases and bowls, in particular the 'Incara' (a combination of Inca and Ra) and 'Birch Bark' pottery have left a lasting impression. A little later came the 'Sang de Boeuf' and turquoise glazes. Among the last successful products to emerge from the factory were the \"Keramobiles\", hanging containers intended for plants, but these were also quickly copied, leading Ravelli to instead have the planters made in plastic.\u003cbr\u003e\u003cbr\u003eThe boom of post-war ceramic production in the Netherlands gradually came to an end in the 1960s, mainly as a result of fierce competition from abroad. Potterie Ravelli also had a hard time and had to close its doors in 1977. What was left behind was a fascinating history of three decades in which he had played a very important role in the field of design and home furnishings. It is not without reason that the Ravelli pottery has been very popular among collectors for years.\u003cbr\u003e\u003cbr\u003eAfter closing his business, Jaap Ravelli still continued to make mostly unique ceramics for a long time. He died on April 1, 2011, at the age of 94\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003e\u003ca href=\"https:\/\/www.pamono.com\/designers\/jaap-ravelli\"\u003eJaap Ravelli\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003ePOTTERIE RAVELLI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eNetherlands\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic, Copper\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBrown, copper, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e4.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e2.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e5.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31745549271082,"sku":"RARE JAAP RAVELLI WALL HANGER","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200619_140534-01.jpg?v=1599499425"},{"product_id":"fighting-cocks-figurines-by-urbano-zaccagnini-pair-florence-italy","title":"‘FIGHTING COCKS’ FIGURINES BY URBANO ZACCAGNINI (PAIR)","description":"\u003cp\u003eA wonderful hand painted and lifelike pair of fighting cocks produced in the \u003cspan\u003eMonte Oliveto\u003c\/span\u003e workshop of Urbano Zaccagnini (Florence, Italy) probably in the 1950s.\u003c\/p\u003e\n\u003cp class=\"maker-text\" style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eZACCAGNINI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003e was originally founded in Florence in 1905 as Ugo Zaccagnini \u0026amp; Figli (...\u0026amp; Children).  Its namesake and founder, Ugo Zaccagnini (1868-1937), was born in Pistoia in Tuscany and studied at the Scuola di Disegno Industriale in Sesto Fiorentino.  He next worked as a plaster modeler for the Richard-Ginori Ceramic Company in Sesto before opening a studio of his own in that municipality.  It closed in 1896 when Zaccagnini entered into partnership with six of the most talented artisans and craftsmen in Florence of the time:  Egisto Fantechi, Luigi Ceccherini, Augusto Fantini, Francesco Grassi, Paolo Banchelli, and Giuseppe Conti.  The enterprise was called La Societa Industriale per Fabbricazione della Maioliche Artistiche (the Society for Industrial Fabrication of Majolica Art) and known by the acronym SIFMA.  Zaccagnini served as master sculptor and model maker during his years with SIMFA.  Production was confined to the recreation of traditional majolica in the Renaissance style of 15th and 16th centuries for which Italy was then famous.  Zaccagnini, in the meantime, had grown increasingly enamored of the current Art Nouveau movement; he saw in its elements an unprecedented freedom of design possibilities.  This artistic difference would eventually lead to SIFMA's breakup.  In 1905 Zaccagnini left to once again open a factory of his own in Florence, this time with the help of sons Pietro, Urbano, and Prisco and daughters Adele and Enrichetta.  The new studio produced the standard offerings of the traditional Italian potter, but it was Zaccagnini's new and surprising artistic creations that caught the attention of the art world.  He would eventually become famous for both his Art Nouveau and, later, his Art Deco figures.  The latter in particular are highly prized today.  In 1912 the company relocated to Florence’s Piazza Pier Vettori where it boosted output.  Zaccagnini exhibited at the Florence Crafts Exhibits, as well as the Milan Triennale and Trade Fair.  In 1928 the factory was again expanded, taking over the industrial complex of a former fireworks factory on Via Monte Oliveto.  The complex was set up like a village for its craftsmen, with individual houses serving as workshops.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eUgo Zaccagnini passed away in 1937 at the age of 69.  His firm’s overall management became the responsibility of his second eldest son, Urbano Zaccagnini (1901-1964), and its name was changed to Società Anonima Ceramiche Zaccagnini.  A new logo was created —a capital \"Z\" with a squiggly line through it meant to represent Monte Oliveto.  Urbano Zaccagnini immediately set about to change the company’s direction.  With the help of entrepreneur Aristide Loria, he modernized production technology and enlarged capacity.  Urbano Zaccagnini serving as artistic director, ZACCAGNINI collaborated on designs with new artists:  Mario Bandini, Ottorino Palloni, Maurizio Tempestini, Gino Pozzi, renowned ceramist Leopold Anzengruber, majolica painter U. Ciardella, sculptor L. Contini, and Fosco Martini.   The factory’s production focused almost exclusively on decorative wares at this time.  A line of very popular animal figurines and graceful women in the Art Deco style was developed, and the company began to export its products, with North America as the primary target.  Ties with American importers were cultivated, Zaccagnini personally making numerous trips to meet with American clients face to face.  ZACCAGNINI figurines began appearing in stores such as Tiffany’s.  In 1938 Zaccagnini obtained a license from Walt Disney Productions to create, in clay, Disney Studios' famous animated characters.  The fame of the ZACCAGNINI name in the US was thus ensured.  It was Mario Bandini who had quickly modeled Snow White and the Seven Dwarfs, produced for sale at the Italian national preview of the feature at the Cinema Teatro Verdi (owned by former SIFMA partner, Egisto Fantechi).  Though expensive, all available pieces sold out immediately.  All were personally signed by Zaccagnini and marked \"W1.\"\u003c\/p\u003e\n\u003cp\u003eZACCAGNINI would eventually produce more than 150 Disney figurines—the likes of Donald Duck, Pluto, Pinocchio, Alice in Wonderland, and Peter Pan—all in a special crystalline glaze secretly made in its factory.  The firm also created Disney salt-and-pepper shakers, children’s plates, cups, mugs, and other assorted Disneyana; some figurines today command prices in the thousands of dollars.  Inactive during WWII, ZACCAGNINI reopened in 1945.  In 1947 it was commissioned to manufacture reproductions of ancient ceramics for New York's Metropolitan Museum of Art.  ZACCAGNINI reached peak production in the late '40s and '50s, during which time many simpler Modernist-inspired ceramic works were produced, as well as an abstraction-inspired line called 'Svedese' (Swedish).  In 1950 a number of ZACCAGNINI ceramics were exhibited in the Italian Crafts Exhibition at the Brooklyn Museum.  In the US, much of the work from this period was likened to the \"Hollywood Regency\" style, then en vogue, as it combined classical and modernist traits together with more opulent decorative flourishes.  By now ZACCAGNINI was exporting all over the world and fast becoming collectible.\u003c\/p\u003e\n\u003cp\u003ePietro, Zaccagnini's older brother, died in 1954.  In 1958, after twenty years of successful leadership, Zaccagnini left the company to open his own ceramics studio, Urbano Zaccagnini Ceramiche Artistiche.  He passed away in 1964, as did his younger brother Prisco the following year.  This left the company to the sisters Adele and Enrichetta, as well as Ugo Zaccagnini's grandchildren.  It continued to operate, but much of its former luster had been lost.  In the 1980’s the firm turned exclusively to the production of ceramic bases for high-end lamp manufacturers.  Many of these were created using Art Nouveau and Art Deco molds from the '30s and '40s.  They often bear the Zaccagnini signature and command premium prices.  ZACCAGNINI closed its doors in 2000, but many family members have since opened their own studios in and around Florence.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eZACCAGNINI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eZACCAGNINI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eForest green, red, yellow, brown, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e15.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e5.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e9.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31894472851498,"sku":"URBANO ZACCAGNINI (1950s)","price":356.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200819_150012-01.jpg?v=1597870505"},{"product_id":"green-fratelli-fanciullacci-decanter-with-stopper","title":"GREEN FRATELLI FANCIULLACCI DECANTER WITH STOPPER","description":"\u003cp\u003eA bright green, pop-era decanter and stopper with a latticework skirt of thick, white-and-butterscotch “icing” from the Bros. Fanciullacci of Florence. Its long, slender neck rises from an ample bell-shaped reservoir to be topped with an egg-shaped stopper that fits loosely in the opening. We’re frankly not sure whether the attached cork is intended to fit so loosely—or if it has shrunk over the years. Either way, it could easily be replaced if a tighter fit were preferred.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFRATELLI FANCIULLACCI\u003c\/b\u003e was born of a family whose roots in Italian ceramics date to the 1700s. The Fanciullaccis had collaborated with the Richard-Ginori porcelain company in Sesto Fiorentino (a municipality of Florence) since its 1737 founding. They were so invested in the concern that when its founder, Carlo Ginori, died in 1757, they attempted to wrest control from his son Lorenzo. Carlo’s widow, Mariana Garzoni Venturi, thwarted the coup and acted as interim manager until the minor Lorenzo came of age.\u003c\/p\u003e\n\u003cp\u003eThe most artistically important Fanciullacci at Ginori during the 18\u003csup\u003eth\u003c\/sup\u003e and early 19\u003csup\u003eth\u003c\/sup\u003e centuries was arguably Giovanni Battista Fanciullacci. He joined the company as a miniaturist and porcelain painter in 1759 and rose to head the painting department in 1772. He was named factory director in 1806, retiring two decades later. His rare works are highly coveted by collectors today.\u003c\/p\u003e\n\u003cp\u003eIn 1862 (sometimes 1858 is cited), Raffaello Fanciullacci (1803-1881), another former Ginori factory director, established his own pottery in nearby Capraia Fiorentino: Ceramiche Capraia. The new company initially produced simple, utilitarian wares. Raffaello was joined by his son Demetrio in the late 1870s, and subsequently by Demetrio’s four sons. By 1880, the pottery officially became FRATELLI FANCIULLACCI, i.e., the Bros. Fanciullacci.\u003c\/p\u003e\n\u003cp\u003eIn 1911, with the arrival of the Florence-Pisa railroad, operations moved from Capraia to nearby Montelupo. The new line provided easy, inexpensive transport to vital Italian cities, and the relocation was such a boon that, by 1914, the company had over 1,000 different molds. FANCIULLACCI’s offerings were among Italy’s most appealing, and the pottery became the area’s largest employer.\u003c\/p\u003e\n\u003cp\u003eDuring the remaining decades of the first half of the 20\u003csup\u003eth\u003c\/sup\u003e century, the firm slowly branched into a rich repertoire of artistic products; the golden age for FRATELLI FANCIULLACCI blossomed. The family famously stayed in sync with the pulse of both Italian and American (their main export destination) consumers. Work was produced almost immediately in the latest styles: Raffaellesco, Istoriati, Art Deco, Art Nouveau, Futurism, Cubism, Modernism, and Avant-Garde.\u003c\/p\u003e\n\u003cp\u003eFRATELLI FANCIULLACCI was one of the few ceramics factories able to operate throughout WWII. At war’s end, Colorificio, parent company of Bitossi Ceramiche, assumed control, though the family ran the business with little oversight. By the late 1950s, work was back up to full speed, and new international markets soon accounted for 90 percent of production.\u003c\/p\u003e\n\u003cp\u003eDisaster struck on November 4, 1966, with a major flood of the Arno—the worst in over 400 years. It resulted in many deaths and the loss of countless art treasures and manuscripts. FRATELLI FANCIULLACCI was hard hit: priceless molds (some dating to its founding), all kilns, raw clay, and finished export stockpiles were destroyed. The company shut down for over a year, and many talented artists and craftsmen left for other work.\u003c\/p\u003e\n\u003cp\u003eProduction shifted to a temporary Florence plant while the Montelupo site was renovated. However, both output and quality suffered dramatically. FRATELLI FANCIULLACCI attempted to reestablish itself but never regained its former success. The company ceased all operations in 1988.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFRATELLI FANCIULLACCI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BOHO CHIC; ITALIAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eKELLY, TAN, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 11 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":32099006545962,"sku":"FRATELLI FANCIULLACCI DECANTER WITH STOPPER","price":179.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201023_180230-01.jpg?v=1603495001"},{"product_id":"antique-karen-hill-tribe-thailand-elephant-bell-and-stand","title":"ANTIQUE KAREN HILL TRIBE ELEPHANT BELL AND STAND (THAILAND)","description":"\u003cp\u003eA large antique cast bronze elephant bell from the Karen Hill Tribe of northern Thailand.  It retains its wooden dowel clapper and is displayed in a traditional bent rattan and wood stand and suspended by two dowels resting on a long piece of elephant hide secured with sinew.  The bell has a beautiful tone that rings out in D flat.  The Karen Tribe are the traditional elephant handlers of Thailand and their elephants are revered creatures. According to Karen folk lure, keeping such a bell that was used by an elephant in one's home will ensure good luck and prosperity for the family living there.  Dimensions: Bell 11 x 8 x 5; Stand 17.5 x 13.75 x 6\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTHE KAREN PEOPLE\u003c\/strong\u003e believe they came from a place they denote a \"Thibi Kawbi\" \u003cmeta charset=\"utf-8\"\u003e(Homeland of Flowers). Some feel that this is their representation of the lands of Tibet and the southern Gobi desert. However, during the 18th century, the Karen began to move southward, across the Salween River from Burma to the Thai Payap (old northern kingdom of Siam).  The Karen are a warm friendly people and expert elephant handlers from the days when they used the elephants to remove logs to clear forest space for their agriculture.  Over time, many have been converted to Buddhism or Christianity, but still hold onto elements of their traditional religion which combines animism, ancestor worship, and a deep relationship with the land.  \u003cmeta charset=\"utf-8\"\u003eWhile the Karen still practice slash-and-burn agriculture as other hill tribes do, they differ in that they live in permanent villages at lower elevations and have been aggressive in developing environmentally sustainable terraced rice fields.  They are the most environmentally conscious of the hill tribes – practicing crop rotation, thus preserving the forest. The Karen hill tribe is the only tribe that owns elephants.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e13.75ʺW × 6ʺD × 17.5ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAsian Antique\u003c\/dd\u003e\n\u003cdd\u003eRustic\u003c\/dd\u003e\n\u003cdd\u003eFolk Art\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003eMid 19th Century\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eThailand\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eBronze\u003c\/dd\u003e\n\u003cdd\u003eHair on Hide\u003c\/dd\u003e\n\u003cdd\u003eRattan\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eBrown\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdd class=\"tear-sheet-actions js-product-tear-sheet-actions\"\u003e\n\u003ca aria-label=\"Print Tear Sheet\" rel=\"nofollow\" href=\"\/product\/3176286\/tear-sheet\"\u003e\u003cspan class=\"cicon cicon-printer\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca aria-label=\"Download Tear Sheet\" download=\"antique-karen-hill-tribe-thailand-elephant-bell-and-stand.pdf\" rel=\"nofollow\" href=\"\/product\/3176286\/tear-sheet?is_download=1\"\u003e\u003cspan class=\"cicon cicon-download\"\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Handmade Item of a Rustic Nature With Many Irregularities and a Rich Patina\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40185809993915,"sku":"ANTIQUE KAREN HILL TRIBE (THAILAND) ELEPHANT BELL AND STAND","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210506_154331-01.jpg?v=1620334197"},{"product_id":"antique-victorian-cast-iron-mr-punch-and-toby-door-stop","title":"ANTIQUE VICTORIAN CAST IRON MR. PUNCH AND TOBY DOORSTOP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA whimsical 19th-century sand cast iron door porter depicting the characters of Mr. Punch sitting on a stack of books, finger on nose, and his dog Toby at his side. Punch \u0026amp; Judy are traditional British puppet show characters, with roots in the 16th-century Italian Commedia dell'arte. The character of Punch is derived from the Neapolitan stock character of Pulcinella, which was anglicized to Punchinello and ultimately shortened to Punch. The first mention in British literature of a Punch puppet show is in the late 17th century. During the 18th century, Punch and Judy shows became an established popular entertainment, performed with hand puppets in mobile puppet stages set up on street corners. Originally intended for adults, by the late Victorian era, they were primarily performed for children. Attributed to the Archibald Kenrick \u0026amp; Sons foundry of West Bromwich, England.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e9ʺW × 0.5ʺD × 12ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eFigurative\u003c\/dd\u003e\n\u003cdd\u003eIndustrial\u003c\/dd\u003e\n\u003cdd\u003eRustic European\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eA. Kenrick \u0026amp; Sons\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003eMid 19th Century\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eEngland\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCast Iron\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eCoffee\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eTear Sheet\u003c\/dt\u003e\n\u003cdd class=\"tear-sheet-actions js-product-tear-sheet-actions\"\u003e\n\u003ca aria-label=\"Print Tear Sheet\" rel=\"nofollow\" href=\"\/product\/3275414\/tear-sheet\"\u003e\u003cspan class=\"cicon cicon-printer\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca aria-label=\"Download Tear Sheet\" download=\"antique-victorian-cast-iron-mr-punch-and-toby-door-porter.pdf\" rel=\"nofollow\" href=\"\/product\/3275414\/tear-sheet?is_download=1\"\u003e\u003cspan class=\"cicon cicon-download\"\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Patina Resultant from Age and Use.\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40710900515003,"sku":"ANTIQUE VICTORIAN CAST IRON 'MR. PUNCH AND TOBY' DOOR STOP","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210624_160508-01.jpg?v=1624570005"},{"product_id":"boxed-set-of-pacific-tower-ashtrays-by-isamu-kenmochi-unused-1960s","title":"BOXED SET OF STACKING ASHTRAYS BY ISAMU KENMOCHI (FIVE)","description":"\u003cp\u003eAn original \u003ci\u003eStapel Ascher\u003c\/i\u003e (Stack of Ashtrays)—a boxed set of five stacking ashtrays created in the 1960s by Japanese industrial designer Isamu Kenmochi and produced for the German market. Made of melamine enveloped in chromed steel, they were manufactured in a rainbow of period colors including black, forest green, cornflower blue, tangerine orange, and chartreuse, among others. This set bears a \"PAT. PEND. 4018039\" mark, identifying it as very early production. Later editions were made in the US by Trend Pacific, Inc, Los Angeles, Calif., under the name \u003ci\u003eMaru\u003c\/i\u003e, circle in Japanese. It is rare enough to find a full set in such excellent condition, but incredible to find them in their original lidded tube! (The dimensions below reference a single ashtray.)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eISAMU KENMOCHI (\u003cspan lang=\"ja\"\u003e剣持勇\u003c\/span\u003e, 1912–1971)\u003c\/b\u003e was a Japanese modernist designer significant in the development of Japanese industrial design after World War II.\u003c\/p\u003e\n\u003cp\u003eIsamu Kenmochi was born on January 2, 1912, in Tokyo, and graduated from the Tokyo College of Industrial Arts (\u003cspan lang=\"ja\"\u003e東京高等工芸学校\u003c\/span\u003e, (now Chiba University Faculty of Engineering) in 1932. After graduation he worked at the Industrial Arts Research Institute in Tokyo.\u003c\/p\u003e\n\u003cp\u003eKenmochi met American artist and designer Isamu Noguchi (1904–1988) in the summer of 1950 on Noguchi's first trip to Japan. Together, they developed a number of furniture designs, pioneering the Japanese Modern style which integrated the material culture of Japanese furniture with modernist styles.\u003c\/p\u003e\n\u003cp\u003eIn 1952, Kenmochi visited the US, later writing about the visit in the Industrial Arts Research Institute's publication \u003ci\u003eJapan Industrial Designers Association\u003c\/i\u003e.\u003c\/p\u003e\n\u003ca href=\"\/wiki\/File:Noguchi_Kenmochi_Chair.jpg\" class=\"image\"\u003e\u003cimg alt=\"\" src=\"\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/6\/69\/Noguchi_Kenmochi_Chair.jpg\/220px-Noguchi_Kenmochi_Chair.jpg\" decoding=\"async\" width=\"220\" height=\"220\" class=\"thumbimage\" srcset=\"\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/6\/69\/Noguchi_Kenmochi_Chair.jpg\/330px-Noguchi_Kenmochi_Chair.jpg 1.5x, \/\/upload.wikimedia.org\/wikipedia\/commons\/6\/69\/Noguchi_Kenmochi_Chair.jpg 2x\" data-file-width=\"432\" data-file-height=\"432\"\u003e\u003c\/a\u003e \u003cspan style=\"font-size: 1rem;\"\u003eBasket Chair by Isamu Kenmochi and Isamu Noguchi\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eIn 1964, Kenmochi's 1958 design for a lounge chair commissioned by the Yamakawa Rattan Company was added to the design collection of the MoMA. The design additionally won the G-Mark Prize (Good Design Selection System).\u003c\/p\u003e\n\u003cp\u003eKenmochi committed suicide on June 3, 1971, in Shinjuku, Tokyo.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eISAMU KENMOCHI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eJAPAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOP ART; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePLASTIC, CHROME, STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTANGERINE, CHARTREUSE, CORNFLOWER, FOREST GREEN, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eThe ashtrays are unused and pristine. The tubular box and lid are both in very good, undamaged condition with minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e2 ⅞\" DIAM. × 1 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":41026595324091,"sku":"STACKING ASHTRAYS BY ISAMU KENMOCHI (1960s)","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230715_141402-01.jpg?v=1689457608"},{"product_id":"very-rare-alvino-bagni-tribal-mask-italy","title":"RARE ENZO BORGINI TRIBAL MASK FOR ALVINO BAGNI","description":"\u003cp\u003eA very rare, African-themed, terracotta tribal mask with metal inclusions, designed in the 1960s by Enzo Borgini (b. 1934) for Alvino Bagni. Borgini produced many famous pieces for BAGNI CERAMICHE with metal elements: rings, tusks, teeth, horns, etc.  Among them are some of the most sought-after collectibles in the company's catalog. Remarkable.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet hamlet of Lastra a Signa in the environs of Florence in Tuscany. His boyhood and adolescence were spent without his father who, as a communist, had been exiled under Italian fascism. Young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of sculptor Torello Santini (1875–1946) and took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a stint at Bitossi Ceramiche for a few years in nearby Montelupo Fiorentino, where famed ceramist Aldo Londi (1911–2003) took him under wing. In 1956 Pugi helped Bagni finance the opening of his own studio in Lastra a Signa, BAGNI CERAMICHE, where several family members were employed, including wife Gina. She would continue to work along side Bagni throughout his career. An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eIn the 1950s and '60s Bagni established fundamental collaborations with Bitossi Ceramiche and with import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. These relationships allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito among them. Bagni produced a stunning variety of designs for Raymor including some highly individualistic studio pieces, perhaps representing the best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. He was always experimenting and produced some truly radical glaze combinations and colors schemes. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns and blacks. Bagni often incorporated rings or other small metal pieces with his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980 BAGNI CERAMICHE had almost 100 employees and was internationally renowned for high-quality, artistic production and the use of innovative techniques. However, as the world increasingly opened up to global competition, the company found itself in financial straits. Tied as it was to an \"artisanal\" approach, it struggled to withstand the downward pressure on prices. Despite Bagni's noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning of buyers. Nuove Forme owns many of Bagni's historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eENZO BORGINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eTRIBAL; MODERN; ITALIAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGOLDENROD, AVOCADO, SLATE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" W × 2\" D × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":41704674689211,"sku":"VERY RARE ALVINO BAGNI TRIBAL MASK","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20230909_182611688-01.jpg?v=1695765181"},{"product_id":"studio-pottery-gorilla-sculpture-signed-ac","title":"GERMAN STUDIO POTTERY GORILLA SCULPTURE","description":"\u003cp\u003eA studio pottery sculpture of a primate with arms crossed in thoughtful repose, by an as-yet-unknown West German artist. The clay is a very dark espresso brown chamotte with a chocolate brown glaze, and the eyes are formed either with embedded glass—or by twin dots of a very glossy black glaze that catches the light and produces a twinkle. Marked \"AC.\"\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eFIGURATIVE; SAFARI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCLAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHOCOLATE, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" W × 3 ½\" D × 5 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":42191416688827,"sku":"GERMAN STUDIO POTTERY GORILLA SCULPTURE - SIGNED 'AC'","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211206_122916-01.jpg?v=1638821256"},{"product_id":"donald-colefish-silver-plate-martini-pitcher-for-gorham","title":"DONALD COLFLESH SILVERPLATE MARTINI PITCHER FOR GORHAM","description":"\u003cp\u003eModern \"drinks\" pitcher of silverplate and plastic, with a tall, cylindrical body, having a narrow band around the base and a slightly pulled triangular spout at the lip. A metal strap across the interior of the spout catches ice; the opposing handle of black plastic—in the form of a number \"7,\" with an upturned, heart-shaped terminal at the top end—attaches to the body with short cylindrical struts. Sexy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDONALD COLFLESH (1932–2021)\u003c\/b\u003e was born in Cleveland Heights, Ohio, in 1932, the second of three children. He attended the Cleveland Institute of Art, before transferring to the Pratt Institute in Brooklyn, where he received a BFA in Industrial Design in the spring of 1955. That same year Colflesh was hired by the Gorham Manufacturing Company of Providence, R.I., then the country’s leading maker and retailer of fashionable silver.\u003c\/p\u003e\n\u003cp\u003eColflesh was recruited to bring a \"contemporary dimension\" to the firm's traditional products. His most popular and successful contribution was the \u003ci\u003eCirca ’70\u003c\/i\u003e series—a line of table- and barware. Its very name alluded to the future and its possibilities, and its forms brilliantly captured America’s lunar ambitions, with intersecting angles that epitomized ultramodern design and curving, upright thrusts of handles and spouts that conveyed the aerodynamics of the jet age.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCirca ’70\u003c\/i\u003e pieces are held in several major silver collections, including those of the Art Institute of Chicago and the Dallas Museum of Art. Colflesh left Gorham in 1960 and moved to Morningside Heights in NYC to start a family. He continued to work as an industrial designer and eventually started his own freelance design business. In the '60s and '70s, Colflesh was an anti-war activist and fierce advocate for tenants’ rights. He died in 2021.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGORHAM MANUFACTURING COMPANY\u003c\/b\u003e was founded in 1831 in Providence, Rhode Island, by master craftsmen Jabez Gorham (1792–1853) and Henry Webster (1808–1864). Along with its chief product, spoons of coin silver (silver of standard coinage purity), the firm made thimbles, combs, jewelry, and other small items. The protectionist US Tariff Act of 1842 imposed a 40 percent duty on many imported goods, including silver. The importation of foreign silverware was effectively blocked, spurring domestic production. However, GORHAM only began to fully leverage the opportunity after Jabez retired in 1847 and was succeeded by his son, John Gorham (1820–1898), as head of the firm.\u003c\/p\u003e\n\u003cp\u003eGORHAM's focus was shifted to the production of larger silver sets. After a tour of European manufacturers in 1852, mechanized production methods were introduced and skilled foreign workmen were hired. The improved efficiencies that resulted meant increased productivity and lower prices, changes that eventually positioned GORHAM as one of the largest silver manufactories in the world. In 1858, the celebrated English designer George Wilkinson (1819–1894) was brought on board. GORHAM's expertise and market dominance were now such that even Tiffany \u0026amp; Co. outsourced all its silverware production to the firm.\u003c\/p\u003e\n\u003cp\u003eThe popularity of GORHAM's flatware got a boost in 1859 when it was selected by Mary Todd Lincoln for the White House. By 1863, the firm was a major player in plated silver as well. In 1868 it made the switch from coin to sterling. Also contributing to GORHAM’s growth was the introduction of holloware pieces.\u003c\/p\u003e\n\u003cp\u003eGORHAM was highly influential during the heyday of American silver, roughly 1850–1940. During the 1890s, some of what would become its most beloved patterns were created. The designs, which owed much to the vision of then-director William Christmas Codman (1839–1921), were featured in the company’s upscale boutiques in major cities like New York and Philadelphia and served to further the GORHAM's acclaim. One of the firm’s most noted designers, Codman crested the \u003ci\u003eChantilly\u003c\/i\u003e pattern in 1895, probably the firm's most famous flatware line. The company moved its New York City store in 1905 to a Fifth Avenue building it had commissioned from architect Stanford White. The next year, GORHAM purchased its long-time rival, New Jersey-based Kerr \u0026amp; Co. In 1924, the Massachusetts jewelry company Whiting Manufacturing Company was absorbed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eSince 1860 the firm had tried to expand into other metals besides silver, but consumers refused to pay a GORHAM premium for flatware produced in baser metals. Yet the expertise it gained in these attempts was not a total loss: its bronze foundry operations became very popular with sculptors. By 1890 GORHAM had built the world's largest bronze-casting foundry and by 1920 it employed almost 2,000 workers. The art foundry produced many sculptures for the great American sculptors of the day. More than 700 GORHAM sculptures are listed in the Smithsonian's inventory.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eThis inertia of success continued into the \u003cspan\u003e20\u003c\/span\u003e\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury when innovative leadership under Danish designer Erik Magnussen (1884–1961) ushered in extremely popular Art Deco forms. By the midpoint of the century, though, America’s love of silver began to wane. In 1967 GORHAM was sold to Textron, a Providence-based industrial conglomerate. GORHAM ceased operating as an independent business and its new owners started reducing the quality of its products in an attempt, ultimately unsuccessful, to hold market share. The former GORHAM, now a division, was resold to Dansk International Designs in 1989, to the Brown-Foreman Corporation in 1991, and to collectible manufacturer Department 56 in 2005.\u003c\/p\u003e\n\u003cp\u003eThe largest collection of GORHAM objects resides today at the Rhode Island School of Design (RISD) Museum.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eThe legacy of the GORHAM MANUFACTURING COMPANY is not all positive. The Adelaide Avenue facility in Providence’s Reservoir Triangle neighborhood operated for nearly 100 years during a time when there were few restrictions on what materials were allowed to be used. As a result, the soil, groundwater, and the Mashapaug Pond on the site of the old facility were contaminated with toxic metals, solvents, and combustion waste products. Extensive cleanup efforts, water testing, and remediation work have started to slowly revive the site.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDONALD COLFLESH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1959\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eGORHAM MFG. CO.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSPACE AGE; ART DECO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSILVERPLATE, PLASTIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSILVER, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" W × 3\" D × 11\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":42214273712315,"sku":"DONALD COLFLESH SILVERPLATE MARTINI PITCHER FOR GORHAM","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231104_180313-01-01_1fd10566-143f-47e4-aa19-045ee1bb4069.jpg?v=1699299990"},{"product_id":"large-mirror-in-a-golden-late-baroque-rococo-style-gilt-frame","title":"LARGE MIRROR IN A LATE BAROQUE\/ROCOCO STYLE GILT FRAME","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA large wall-h\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eung\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e mirror in a late baroque\/rococo style gilt frame with carved acanthus leaf corners and \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecurving natural ornamental forms throughout.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"section-title\" id=\"js-heading-details\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv id=\"js-info-details\" class=\"product-info-content collapse in\" role=\"tabpanel\" aria-labelledby=\"js-heading-details\" aria-expanded=\"true\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e36ʺW × 2.75ʺD × 54ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eBaroque\u003cbr\u003e\n\u003c\/dd\u003e\n\u003cdd\u003eRococo\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eMirror\u003c\/dd\u003e\n\u003cdd\u003eWood\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eGood Condition, Original Condition Unaltered, Some Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eGold\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Very Good Vintage Condition. Minor Wear to Frame Edges\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"position: absolute; left: 82px; top: 200.484px;\" id=\"gtx-trans\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":43032026939579,"sku":"LARGE MIRROR IN A LATE BAROQUE\/ROCOCO STYLE GILT FRAME","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/large-mirror-in-a-late-baroquerococo-style-gilt-frame-9967.jpg?v=1657055996"},{"product_id":"william-polia-pillin-flambe-bowl-or-cachepot","title":"WILLIAM \u0026 POLIA PILLIN FLAMBÉ BOWL OR CACHEPOT","description":"\u003cp\u003eA stunning, orange and yellow, triangular flambé bowl or cachepot by William and Polia Pillin. In excellent vintage condition with no chips, cracks, or crazing!\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePOLIA PILLIN (1909–1992)\u003c\/b\u003e was a Polish-American painter and potter during the previous century, best known for distinctive, highly crazed, hand-painted ceramics, often produced in collaboration with her husband Bill. She was born Polia Sukonic in Częstochowa, Poland, to a talented family of weavers, potters, and coppersmiths. Sent to live in Chicago at fifteen in 1924—near the tail-end of the mass migration of Eastern European Jews to the US—she worked long hours in the garment industry during the day and took night classes in painting and sculpture at the local Jewish People’s Institute. In 1927 a cousin introduced her to William “Bill” Pillin (1910–1985), a fellow émigré whose family had settled in Chicago after fleeing pogroms in the Ukraine. They were married that year.\u003c\/p\u003e\n\u003cp\u003eBill aspired to become a published poet, and an opportunity arose during the Depression for him to secure a job with the Federal Writers’ Project. The travel involved took him all across the US, including the Southwest. In 1936 he returned with Polia to New Mexico, and they moved onto a sixteen-acre farm outside of Albuquerque. Conditions were harsh, with the closest water source several miles away, but they found the isolation inspiring. After the birth of their son Boris in 1940, however, the Pillins decided to rejoin civilization, and they moved back to Chicago. (During his lifetime, Bill’s verse would appear in over 100 literary reviews, and he would publish nine, well-received collections of work.)\u003c\/p\u003e\n\u003cp\u003eBill found a position in book publishing in Chicago that paid enough to support the family. This allowed Polia to explore painting in watercolor and oil full-time. Her one-woman exhibition at the Chicago Art Institute drew favorable notices and the attention of the \u003ci\u003eSun-Times\u003c\/i\u003e. During the show, Polia became fascinated by the Institute’s pottery display, and, in 1946, she took a six-week course in ceramics at Chicago’s Hull House. She fired pieces in the kilns there until the facility was repurposed for the rehabilitation of returning WWII veterans. Polia then moved her fledgling business to the Pillin apartment, with a wheel and an improvised kiln in the kitchen. During these studio-in-the-kitchen years, she taught Bill how to make pots. Polia never stopped throwing pots herself and always did all of the painting.\u003c\/p\u003e\n\u003cp\u003ePolia's decoration technique involved adding oxides to slip (watery clay) in various intensities and combinations to develop a palette of extraordinary range. With these slurries, she painted her ethereal images of women, cats, horses, and birds on greenware (unfired) pots. Chagall-like in color, her women dance, play instruments, ponder, and ride. Interestingly there are no children, houses, meals, or other signs of ordinary domesticity. Polia double-fired her decorated pots using a transparent glaze to produce a high-gloss finish. The Byzantine flavor of Pillins’ work has often been noted.\u003c\/p\u003e\n\u003cp\u003eThe couple’s endeavors soon outgrew the space, and, in 1948, they moved to Los Angeles. They purchased a modest home with a garage where the Pillin Art Pottery Company was born. At some point in the ’60s, they experimented with using molds to keep up with demand—they were selling pieces as fast as they could make them—but even then, both Polia and Bill continued to throw pots. More than 95% of their work is highly crazed. This should not surprise, as the small studio did not have a team of chemists or the special equipment available to large commercial operations.\u003c\/p\u003e\n\u003cp\u003eAlthough the vast majority of the Pillin Art Pottery was produced in California, there are early examples from the Chicago kitchen studio. These rare pieces will usually be marked with a “46“ or “47“ for the year. Some works can be found with an inscribed “W + P” above the Pillin signature. This was an early indication that Bill had thrown the piece and Polia had decorated it, a practice that later became commonplace. Practically all Pillin Art Pottery is marked with a stylized “Pillin” signature in black. There was some amount of variation and evolution in the signature; close inspection can sometimes help to date pieces. Earlier pieces tend to be thicker in construction. Nearly all Pillin pottery is made from a distinctive red brick-colored clay.\u003c\/p\u003e\n\u003cp\u003ePolia made her last known piece in 1991, a year before her death. No production records were ever kept, and most pieces were unique, so no catalog of her work would ever be complete. The total output of pottery from Polia is hard even to estimate.\u003c\/p\u003e\n\u003cp\u003ePottery from Polia Pillin is held in the collections of the Dallas Museum of Fine Art and the Syracuse Museum of Fine Art. Pillin pieces remain highly collectible with prices starting in the high hundreds and many in the thousands.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003e. . .Humble clay becomes a medium for painting. The limit of which is defined only by the zeal and inspiration of the artist.\u003c\/i\u003e – POLIA PILLIN\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003e“TO A CUSTOMER” by William Pillin\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eIf you dislike our pot, mister,\u003cbr\u003eGo buy from another.\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eBut don't stand there with a turned-up nose,\u003cbr\u003eyou bastard!\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eI labored in shaping the slender amphora\u003cbr\u003eand Polia designed a small alleluia on it.\u003c\/p\u003e\n\u003cp style=\"margin-left: 15%; margin-right: 15%;\"\u003eGo now.\u003cbr\u003eYour shadow lingers over the highlights.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePOLIA PILLIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003ePILLIN ART POTTERY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBURNT ORANGE, ORANGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" DIAM. × 6 ⅛\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":43282965528763,"sku":"WILLIAM \u0026 POLIA PILLIN FLAMBÉ BOWL OR CACHEPOT","price":826.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220829_113516_1-01-01.jpg?v=1661794240"},{"product_id":"abstract-sand-cast-aluminum-platter-by-donald-drumm","title":"ABSTRACT SAND-CAST ALUMINUM PLATTER BY DONALD DRUMM","description":"\u003cp\u003eAn abstract, limited edition, sand-cast aluminum platter made by Donald Drumm in 1967 to commemorate the 1967 'International Fortnight' festival at Bowling Green State University in Ohio.  The design consists of two circular forms of different sizes with spokes radiating out from the center of each one.  The sun shines high in the sky in the background. On the back is a spiraling, embossed inscription reading: •INTERNATIONAL FORTNIGHT•1967• BOWLING GREEN UNIVERSITY•.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDONALD \"DON\" DRUMM (b. 1935)\u003c\/b\u003e is an American sculptor and master craftsman working mostly in metal. Born in Warren, Ohio, in 1935, Drumm briefly studied medicine before pursuing an art education at Kent State, where he earned his B.F.A and M.A. He was subsequently employed for two years as a modeler by the industrial design firm Smith, Scherr \u0026amp; McDermott in Akron, Ohio. It was here he was introduced to the techniques of sand-casting. Laid off in 1960, when the firm shifted its focus, Drumm opened the Akron studio where he practices to this day. About ten years later, the studio was expanded to incorporate a small gallery, where functional and decorative pieces for the home are sold. The enterprise has since grown extensively; it now encompasses eight buildings, providing gallery facilities for over 500 artists and studio space for three full-time residents.\u003c\/p\u003e\n\u003cp\u003eDrumm is noted for his innovative use of contemporary building materials in the creation of arts and crafts. In the late 1950s, he pioneered cast aluminum as an artistic medium. Steel and pewter are also well-represented in his oeuvre. He continues experimenting and creating to this day.\u003c\/p\u003e\n\u003cp\u003eThe 1960s brought teaching opportunities for Drumm and his wife Lisa (née Plavcan), herself a fabric artist. They began to spend a few weeks each summer at the Penland School of Craft in the Blue Ridge Mountains of North Carolina. There, he taught sculpting, welding, and casting, and she taught fiber arts. In 1965, Drumm began a six-year residency at Bowling Green State University in Ohio. Charged with beautifying the campus, he produced one of his most monumental works: a ten-story indoor\/outdoor mural sandblasted onto the east facade of the school’s Jerome Library.\u003c\/p\u003e\n\u003cp\u003eIn 1967, Drumm was asked to design a sculpture at his alma mater, Kent State. His response was a 15-foot-tall piece, \u003ci\u003eSolar Totem\u003c\/i\u003e, comprised of over 100 steel tiles, installed outside the school's Taylor Hall. (The sculpture was famously pierced by a bullet during the notorious Kent State shootings in 1970. Every spring, the sculpture is adorned with daffodils in memory of the victims.) Public works in Akron by Drumm include a mural at the city's Children's Zoo, a brushed aluminum sun and moon watching over its Public Library, and the \u003ci\u003eGarden of Fantasy\u003c\/i\u003e sculpture at the Jean and Milton Cooper Cancer Center.\u003c\/p\u003e\n\u003cp\u003eDrumm has received numerous honors along the way, including a lifetime achievement award from Ohio Designer Craftsmen and an \"Outstanding Contributors of the Century\" award from the Akron Beacon Journal. He was the inaugural recipient of both the \"Outstanding Visual Artist Award\" from the Akron Area Arts Alliance and the \"Artist and Craftsman Excellence\" award from the American Institute of Architecture (AIA). The Drumms have established the Don and Lisa Drumm Endowed Scholarship Fund for the School of Art at the University of Akron, to be awarded to students with artistic talent and financial need.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI feel like I’m part of an industrial age and should be using as many of those techniques as I can.\u003c\/i\u003e — Don Drumm\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDONALD DRUMM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1967\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eALUMINUM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSILVER, GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show slight signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e11 ½\" W × 10\" D × 1\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":43845299536059,"sku":"ABSTRACT SAND-CAST ALUMINUM PLATTER BY DONALD DRUMM","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20221108_162505_1-01.jpg?v=1668025165"},{"product_id":"early-original-articulated-oak-elephant-by-kay-bojesen-c-1953-denmark","title":"EARLY ORIGINAL ARTICULATED OAK ELEPHANT BY KAY BOJESEN (DENMARK)","description":"\u003cp\u003eAn excellent early example of Kay Bojesen's hand-carved, articulated, solid oak elephant—designed in Denmark in 1953. It has a beautiful, rich, golden brown patina, and its right front foot bears the early Bojesen oval mark. All joints are tight and in working order. A classic for children and adults alike. With its cheery countenance, the elephant should be a faithful companion for life.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eKAY BOJESEN (1886–1958)\u003c\/b\u003e was a Danish silversmith and designer. Born in Copenhagen, he first trained to be a grocer, but began working for Danish silversmith Georg Jensen (1866–1935) in 1906. He completed his apprenticeship in 1910. His early work is described as being in an Art Nouveau style, likely due to Jensen's influence. BOJESEN was one of the first Danish artisans to embrace functionalism and was also among the pioneers behind \u003ci\u003eDen Permanente\u003c\/i\u003e, the \"Permanent Exhibition of Danish Arts.\" Organized by a cooperative of artists \"to provide and maintain exhibition premises in Copenhagen for the propaganda and sale at home and abroad of the products of Danish handicrafts and industrial design,\" it included a shop and showroom and came to represent the best in Danish and Scandinavian design.\u003c\/p\u003e\n\u003cp\u003eIn the 1930s, BOJESEN started to indulge his interest in wood. He created a range of wooden toys that all lived up to his ideal that design should be round, soft, and have a good feel to it. He made no attempt to create lifelike copies of real animals but instead to create imaginative toys for a child's world, where \"lines need to smile.\" He is best known for his wooden monkey, which was exhibited at the Victoria and Albert Museum in London in the 1950s and which today is considered a design classic. He created more than 2000 such toys and was one of Denmark's most prolific artisans of the 20th century.\u003c\/p\u003e\n\u003cp\u003eApart from wooden toys, BOJESEN's repertoire included teapots and goblets in silver. He also designed furniture for children, jewellery, and housewares. A set of stainless steel cutlery he designed in 1938 won the Grand Prix at the Milan Triennial IX of 1951, after which it was rechristened \u003ci\u003eGrand Prix.\u003c\/i\u003e Relaunched for manufacture by BOJESEN's granddaughter, Susanne Bojesen Rosenqvist, the set is known today as the national cutlery of Denmark and is found in every Danish Embassy worldwide. BOJESEN died in 1958, at the age of 72. His shop in Copenhagen, which he had founded in 1932, was operated by his widow Erna Bojesen until her death in 1986.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eKAY BOJESEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1953\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eDANISH MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eOAK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGOLDENROD, BEIGE, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent original vintage condition with a gorgeous golden brown patina. There are no flaws and only very minor signs of previous ownership, consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e9 ¼\" W × 3 ½\" D × 5 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44739955491003,"sku":"EARLY ORIGINAL ARTICULATED OAK ELEPHANT BY KAY BOJESEN (c. 1953) - DENMARK","price":795.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20220919_165149_1-01_ce40d08c-0458-417b-b272-e0293eda95d5.jpg?v=1692756478"},{"product_id":"large-abstract-cat-sculpture-by-alvino-bagni-italy","title":"LARGE ABSTRACT CAT SCULPTURE BY ALVINO BAGNI (ITALY)","description":"\u003cp\u003eA rarely seen sculpture of an abstracted cat by master potter Alvino Bagni in his \u003ci\u003eAutumn Sunset\u003c\/i\u003e glaze. The sculpture is large, standing 13 ¼\" tall, with a depth of approximately 11\" and 8\" wide. Sculpted and painted entirely by hand, this is surely one of Bagni's most labor-intensive creations.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet hamlet of Lastra a Signa in the environs of Florence in Tuscany. His boyhood and adolescence were spent without his father who, as a communist, had been exiled under Italian fascism. Young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of sculptor Torello Santini (1875–1946) and took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a stint at Bitossi Ceramiche for a few years in nearby Montelupo Fiorentino, where famed ceramist Aldo Londi (1911–2003) took him under wing. In 1956 Pugi helped Bagni finance the opening of his own studio in Lastra a Signa, BAGNI CERAMICHE, where several family members were employed, including wife Gina. She would continue to work along side Bagni throughout his career. An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eIn the 1950s and '60s Bagni established fundamental collaborations with Bitossi Ceramiche and with import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. These relationships allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito among them. Bagni produced a stunning variety of designs for Raymor including some highly individualistic studio pieces, perhaps representing the best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. He was always experimenting and produced some truly radical glaze combinations and colors schemes. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns and blacks. Bagni often incorporated rings or other small metal pieces with his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980 BAGNI CERAMICHE had almost 100 employees and was internationally renowned for high-quality, artistic production and the use of innovative techniques. However, as the world increasingly opened up to global competition, the company found itself in financial straits. Tied as it was to an \"artisanal\" approach, it struggled to withstand the downward pressure on prices. Despite Bagni's noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning of buyers. Nuove Forme owns many of Bagni's historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALVINO BAGNI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ITALIAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCINNAMON, ORANGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" W × 11\" D × 13 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44775352139963,"sku":"LARGE ABSTRACT CAT SCULPTURE BY ALVINO BAGNI - ITALY","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20230920_153118-01.jpg?v=1695305300"},{"product_id":"hand-painted-port-of-venice-four-panel-folding-screen","title":"VINTAGE HAND-PAINTED FOUR-PANEL “PORT OF VENICE” FOLDING SCREEN","description":"\u003cp\u003eA beautifully distressed oil painting on a four-panel folding screen depicting the port of Venice. The piece is being presented in “as-found” condition, no attempts at restoration having been made. We feel the natural patina of age and use only adds to its charms. Although meant to be displayed as a free-standing work of art, it nevertheless has been fitted with four one-hole hangers, allowing it to be hung flat on a wall. Each panel is just shy of 16\" wide, stands 48\" high, and is \u003cspan\u003e¾\u003c\/span\u003e\" thick. When completely folded up, the screen depth is 3 \u003cspan\u003e½\u003c\/span\u003e\". This would be an excellent decorative addition to virtually any interior style.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eOIL PAINT, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eRemains in all original condition with a naturally distressed finish, featuring some paint loss and an aged patina, but no flaking. No attempt has been made to clean or otherwise disturb the surface of the painting.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e64\" W × 1\" D × 48\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46930160255163,"sku":"VINTAGE HAND PAINTED 'PORT OF VENICE' FOUR-PANEL FOLDING SCREEN","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250904_135433.jpg?v=1757013209"},{"product_id":"early-70s-bonded-bronze-plant-liner-by-mccarroll-and-gillespe-for-forms-surfaces","title":"RARE EARLY ’70s BRONZE ABSTRACT PLANTER BOX BY McCARROLL \u0026 GILLESPE FOR FORMS+SURFACES","description":"\u003cp\u003eFour panels of bonded bronze, designed by Billy Joe McCarroll and David Gillespe for FORMS+SURFACES of California, adorn this unlined wooden planter box. Heavely textured, “impasto” abstractions, seemingly formed by haphazard strokes from a trowel or palette knife, decorate four sides of the cube, mimicking the application of Venetian plaster. Produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003eBonded bronze, aka cold cast bronze, is made by pouring a mixture of liquid polymer resin and powdered bronze into a mold. The resulting material is durable and has the look of metal without its weight. It can serve as a relatively affordable alternative to solid bronze for sculptures and architectural elements.\u003c\/p\u003e\n\u003cp\u003eBILLY JOE McCARROLL (b. 1937) is a Postwar American artist, primarily recognized for creating Mid-Century Modern sculptural doors. His work was mainly produced in California during the late 1960s and early 1970s in collaboration with fellow artist DAVID GILLESPE. Their pieces, which also include bars and other furniture, are characterized by textured surfaces and geometric abstraction, and are often said to embody the Brutalist aesthetic. McConnell and Gillespe frequently used materials like bonded-bronze resin, hammered copper, and lacquered wood. Their most famous creations were the Heroic Sunburst doors, which feature a distinct carved sunburst pattern, and were produced by FORMS+SURFACES in the early ’70s. McCarroll holds an MA in Visual Art from California State University.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is recognized as a top designer and manufacturer of architectural and outdoor products for public environments. They offer a diverse selection of architectural surfaces, elevator interiors, site furniture, and lighting fixtures that blend beauty with utility to enhance the appeal of public spaces.\u003c\/p\u003e\n\u003cp\u003eWhile the earliest history of the company remains somewhat murky, a consensus seems to support the thesis that it evolved out of the wood-panel carvings of California-based industrial designer Evelyn Ackerman (1924–2012), work that became the basis of the company Panelcarve that she established with her husband Jerome Ackerman (1920–2019) in the 1960s, in partnership with Los Angeles architect Sherrill Broudy (1923–2015). Despite these California origins, F+S was, to some degree, “re-founded” in 1968 in Pittsburgh, Penn. Jeffrey Stork (b. 1959) has been listed as President, CEO, and owner since at least 2001.\u003c\/p\u003e\n\u003cp\u003eWith over fifty years of experience, FORMS+SURFACES remains rooted in innovation, craft, and sustainable materials. In 1972, its first bonded-bronze panels were installed at an office building in suburban Chicago. (F+S bonded metals are composite materials that combine metal granules with a polymer matrix, creating an extremely durable product that has the look of solid metal, but is lightweight.) When the building underwent a redesign more than five decades later, the panels were retained due to their condition and timeless aesthetic. In 2016, the legendary Joel Berman Glass Studios of British Columbia were acquired to expand F+S’s glass product lines and rechristened BermanGlass as a subsidiary.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES also produces long-lasting outdoor furnishings: benches, tables, planters, and trash receptacles; precision-crafted LED lighting solutions; and architectural hardware such as door pulls and plates. Their products are featured in a wide range of public and commercial settings, including airports and hotels, office buildings and universities, hospital facilities and parks.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is committed to sustainability, using green materials and finishes in many of its products.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eBILLY JOE McCARROLL \u0026amp; DAVID GILLESPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFORMS+SURFACES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BRUTALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, RESIN, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23 ¾\" W × 23 ¾\" D × 24\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46933010055355,"sku":"EARLY 70s BONDED BRONZE PLANT LINER BY McCARROLL AND GILLESPE FOR FORMS \u0026 SURFACES (#2)","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/1757190914547.jpg?v=1757192394"},{"product_id":"rare-early-70s-bonded-bronze-plant-liner-by-mccarroll-and-gillespe-for-forms-surfaces","title":"RARE EARLY ’70s BRONZE “HONEYCOMB” PLANTER BOX BY McCARROLL \u0026 GILLESPE FOR FORMS+SURFACES","description":"\u003cp\u003eFour panels of bonded bronze, designed by Billy Joe McCarroll and David Gillespe for FORMS+SURFACES of California, adorn this unlined wooden planter box. A bold honeycomb pattern, formed by concentric hexagons, decorates all sides of the near cube. Produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003eBonded bronze, aka cold cast bronze, is made by pouring a mixture of liquid polymer resin and powdered bronze into a mold. The resulting material is durable and has the look of metal without its weight. It can serve as a relatively affordable alternative to solid bronze for sculptures and architectural elements.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBILLY JOE McCARROLL (b. 1937)\u003c\/b\u003e is a Postwar American artist, primarily recognized for creating Mid-Century Modern sculptural doors. His work was mainly produced in California during the late 1960s and early 1970s in collaboration with fellow artist \u003cb\u003eDAVID GILLESPE\u003c\/b\u003e. Their pieces, which also include bars and other furniture, are characterized by textured surfaces and geometric abstraction, and are often said to embody the Brutalist aesthetic. McConnell and Gillespe frequently used materials like bonded-bronze resin, hammered copper, and lacquered wood. Their most famous creations were the \u003ci\u003eHeroic Sunburst\u003c\/i\u003e doors, which feature a distinct carved sunburst pattern, and were produced by FORMS+SURFACES in the early ’70s. McCarroll holds an MA in Visual Art from California State University.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFORMS+SURFACES\u003c\/b\u003e is recognized as a top designer and manufacturer of architectural and outdoor products for public environments. They offer a diverse selection of architectural surfaces, elevator interiors, site furniture, and lighting fixtures that blend beauty with utility to enhance the appeal of public spaces.\u003c\/p\u003e\n\u003cp\u003eWhile the earliest history of the company remains somewhat murky, a consensus seems to support the thesis that it evolved out of the wood-panel carvings of California-based industrial designer Evelyn Ackerman (1924–2012), work that became the basis of the company Panelcarve that she established with her husband Jerome Ackerman (1920–2019) in the 1960s, in partnership with Los Angeles architect Sherrill Broudy (1923–2015). Despite these California origins, F+S was, to some degree, “re-founded” in 1968 in Pittsburgh, Penn. Jeffrey Stork (b. 1959) has been listed as President, CEO, and owner since at least 2001.\u003c\/p\u003e\n\u003cp\u003eWith over fifty years of experience, FORMS+SURFACES remains rooted in innovation, craft, and sustainable materials. In 1972, its first bonded-bronze panels were installed at an office building in suburban Chicago. (F+S bonded metals are composite materials that combine metal granules with a polymer matrix, creating an extremely durable product that has the look of solid metal, but is lightweight.) When the building underwent a redesign more than five decades later, the panels were retained due to their condition and timeless aesthetic. In 2016, the legendary Joel Berman Glass Studios of British Columbia were acquired to expand F+S’s glass product lines and rechristened BermanGlass as a subsidiary.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES also produces long-lasting outdoor furnishings: benches, tables, planters, and trash receptacles; precision-crafted LED lighting solutions; and architectural hardware such as door pulls and plates. Their products are featured in a wide range of public and commercial settings, including airports and hotels, office buildings and universities, hospital facilities and parks.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is committed to sustainability, using green materials and finishes in many of its products.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eBILLY JOE McCARROLL \u0026amp; DAVID GILLESPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFORMS+SURFACES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BRUTALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, RESIN, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23 ¾\" W × 23 ¾\" D × 24\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46934192095419,"sku":"RARE EARLY 70s BONDED BRONZE PLANT LINER BY McCARROLL AND GILLESPE FOR FORMS \u0026 SURFACES (#1)","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250905_180124.jpg?v=1757192693"},{"product_id":"vintage-70s-ingrid-chicago-party-ball-with-service-for-six","title":"VINTAGE 70s INGRID CHICAGO PARTY BALL WITH SERVICE FOR SIX","description":"\u003cdiv data-processed=\"true\" data-hveid=\"CAMQAA\" data-sfc-cp=\"\" class=\"Y3BBE\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003eMod practicality in a ball!  True to the era's aesthetic, t\u003c\/span\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003ehe \u003c\/span\u003e\u003ca style=\"color: rgb(0, 0, 0);\" href=\"https:\/\/www.google.com\/search?prds=pvt:hg,pvo:29,imageDocid:8403214354141018957,headlineOfferDocid:5561336687768794812,productDocid:5561336687768794812\u0026amp;ibp=oshop\u0026amp;q=product\u0026amp;sa=X\u0026amp;ved=2ahUKEwi9x7Dgn8CQAxU5kWoFHWBGFRsQxa4PegQIAxAC\" data-ved=\"2ahUKEwi9x7Dgn8CQAxU5kWoFHWBGFRsQxa4PegQIAxAC\" id=\"pvlink5zr9aP23E7miqtsP4IzV2AE_1\" role=\"link\" class=\"SmjhRb bqYA2d\" tabindex=\"0\"\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eIngrid Picnic Ball\u003c\/span\u003e\u003c\/strong\u003e\u003cspan aria-label=\"Go to product viewer dialog for this item.\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003e, also known as the \u003cstrong\u003eIngrid Chicago Party Ball,\u003c\/strong\u003e is a vintage, Mid-Century Modern portable plastic picnic set from the 1970s\u003c\/span\u003e. The dinnerware is housed in a sphere-shaped case that separates into two large serving bowls. Produced by Ingrid Chicago, an American manufacturer, the party ball is a clever replica of \u003cmeta charset=\"utf-8\"\u003eCarlo Viglino's \"Pic Bol\" design for the Fratelli Guzzini company of Italy.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-processed=\"true\" data-hveid=\"CAMQAA\" data-sfc-cp=\"\" class=\"Y3BBE\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-processed=\"true\" data-hveid=\"CAUQAA\" data-sfc-cp=\"\" class=\"Y3BBE\"\u003eThe \u003cstrong\u003eIngrid Picnic Ball\u003c\/strong\u003e is made from durable plastic, such as melamine or polyethylene, and is available in a variety of vibrant colors, including red, yellow, green, blue, and white. Complete sets can include pieces for six people. While the number and type of items can vary slightly by version, a typical set features a carrier ball split into\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003e\u003cspan class=\"Yjhzub\"\u003e t\u003c\/span\u003ewo halves that open to form two large serving bowls and, when combined, create a portable carrying case with a handle. Stored inside are s\u003c\/span\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003eix large plates and six smaller salad or dessert-sized plates, s\u003c\/span\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003eix bowls for soup or other dishes, \u003c\/span\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003esix cups, and one serving tray,\u003c\/span\u003e\u003cspan data-sfc-cp=\"\" class=\"T286Pc\"\u003e which also serves as a lid for the dinnerware\u003cspan style=\"color: #000000; font-family: Arial;\"\u003e\u003cspan style=\"font-size: 13.3333px; background-color: rgb(239, 239, 239);\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-processed=\"true\" data-hveid=\"CAUQAA\" data-sfc-cp=\"\" class=\"Y3BBE\"\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\" data-processed=\"true\" data-hveid=\"CAUQAA\" data-sfc-cp=\"\" class=\"Y3BBE\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cstrong\u003eIngrid Party Balls\u003c\/strong\u003e came in various styles, including solid-colored outer balls and dinnerware in different patterns or colors. The customer could choose a solid-colored ball with mixed-color dinnerware or a set in one solid color.\u003c\/span\u003e\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47121659625659,"sku":"VINTAGE 70s INGRID CHICAGO PARTY BALL WITH SERVICE FOR SIX","price":98.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251025_173112.jpg?v=1761432749"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/images-1.jpg?v=1660335647","url":"https:\/\/modernredux.myshopify.com\/collections\/decor.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}