Objects

Cast in brass, the doorstop has a classic form with a bell-shaped base, baluster shaft, and loop handle.

Gets the job done.

Of elongated oval form, constructed in solid mahogany and bound with brass straps. Traditionally described as a table-top jardinière or bread tray, the precise original purpose of the form is open to interpretation. Similar vessels were intended for use on tables and sideboards, accommodating flowers, greenery, correspondence, or other decorative arrangements.

The simple, well-drawn design and quality of construction allow the piece to serve a variety of practical and decorative purposes today, whether used as a centerpiece, for correspondence, or for the discreet storage of everyday objects such as remote controls.

PROVENANCE
With Jackson-Mitchell, Wilmington, Delaware, United States;
Private collection, Pennsylvania, United States.

Patinated steel, 24-karat gold leaf, fused bronze, copper, and glass enamel

Executed in Bearden’s distinctive sculptural vocabulary, the present work combines heavily textured industrial surfaces with passages of color and metallic contrast. The compartmentalized top, animated by radiating and cellular forms, recalls both architectural fragments and organic structures.

Known for his highly tactile metalwork and process-driven approach, Bearden creates compositions that blur the line between sculpture, design, and functional object. Layered patination and fused materials produce surfaces of considerable depth and variation. The elevated pedestal form reinforces the sculptural character of the work while maintaining the intimate scale associated with personal objects and boxes.

James Bearden (American, b. 1964) is an abstract sculptor whose work explores the intersection of sculpture, architecture, and functional design. Working primarily in metal, Bearden has produced a number of ongoing series, including Cathedral, Assemblage, Voids, and Lunar Blooms. His work is held in corporate, municipal, and prominent private collections.

Hand-built stoneware
Impressed with the artist’s stamp

Heavily textured and layered in slate blue, mineral white and earthy brown. Organic and elemental, it looks as though it has spent centuries submerged—encrusted with salt, sediment and time.

Philp has spent more than five decades developing a highly individual ceramic practice centered around hand-built forms and complex, layered firing techniques. Working outside the constraints of the potter’s wheel, he constructs each work slowly and intuitively, applying thin layers of material over multiple firings to achieve surfaces of considerable depth and subtlety. His work often evokes archaeological fragments or ancient architectural remains while resisting direct narrative interpretation.

Born in 1941, Philp studied ceramics at Cardiff Art School and later devoted many years to the restoration of Llansôr Mill in Monmouthshire using traditional building methods and reclaimed materials. Since returning fully to ceramics, he has produced a body of work distinguished by its meditative quality, technical sophistication, and deeply tactile surfaces. Philp’s work is represented in numerous important collections, including the Musée des Beaux Arts, Montréal; the Cité de la Céramique, Sèvres; and the Musée Ariana, Geneva.

“The idea and philosophy behind my work is to produce objects that look as if they have happened by a natural process — objects that have been discovered rather than made. In the case of the vessels, I am looking for a timeless quality with a classic simplicity of form.” — Paul Philp

PROVENANCE
Acquired from the artist.

Blackened steel with 24-karat gold gilding

The elongated asymmetrical form recalls a futuristic skyline or industrial landscape, rising from a heavily textured pedestal base. Designed to hold multiple candles, the work occupies the space between sculpture and functional object. Traces of colored wax applied by the artist remain within several of the candle cups, adding subtle tonal variation and evidence of use.

Executed with heavily worked surfaces and layered patination, the candelabra presents a different profile from each viewpoint. The combination of blackened steel, gilding, and accumulated wax contributes significantly to its character.

James Bearden (American, b. 1964) is an abstract sculptor whose work explores the intersection of sculpture, architecture, and functional design. Working primarily in metal, Bearden has produced a number of ongoing series, including Cathedral, Assemblage, Voids, and Lunar Blooms. His work is held in corporate, municipal, and prominent private collections.

Each of square form, fitted with bold brass carrying handles and retaining its original removable zinc-lined interior, now fitted with a custom glass top. Superbly constructed with large exposed dovetails, the faux bamboo molding and brass hardware are characteristic of the Chinese-inspired aesthetic that informed much of George Zee’s production during the period.

The pair is representative of the work of George Zee & Co., one of the leading Hong Kong furniture makers and exporters of the mid-twentieth century. The firm became known for producing furnishings inspired by traditional Chinese forms, often executed in richly figured hardwoods and distinguished by quality construction and strong proportions.

Originally intended as jardinières or wine coolers, these examples have been fitted with custom glass tops, allowing them to function as highly practical side tables while preserving their original character. The pair displays minor variations consistent with a matched pair and presents beautifully from all angles.

The first reaction is always instinct. Then comes the test: the quality of the materials, how well they were made, how difficult they would be to find again, and whether they make sense in the market. Nothing changed my mind.