MIA: Decorative Arts, Textiles and Sculpture (Bot)

triangular shaped back section; rectangular leaded glass inset at top of backrest with blue arrowhead motif; brown-red upholstery

Chair, from a six-piece dining room suite https://collections.artsmia.org/art/111895/

Ewer, German XVc, man on horse with raised spear

Aquamanile https://collections.artsmia.org/art/1316/

spandrel, tympanum and decorative panels from the Scoville Building, Chicago Louis Sullivan designed these terracotta panels for the exterior of the Scoville Building in Chicago, one of the Adler and Sullivan firm's earliest commissions. It required them to remodel an existing Adler structure to accord with a new, much larger addition. The terracotta pieces shown here formed part of the organic decoration of stylized plants with which Sullivan tied the two buildings together. This lunette ornamented the arch above the windows of the top (fifth) story. It has an undulating design of ferns unfurling and would have complemented other organically-inspired terracotta pieces throughout the exterior.

Lunette and decorative panel, one of twelve https://collections.artsmia.org/art/97841/

Three-Arm Candelabrum, one of a pair

Three-Arm Candelabrum, one of a pair https://collections.artsmia.org/art/18644/

Kakiemon style with winged beast, flying crane, insects, grasses, spays in indianische blumen within a Sulkowski Osier border When the factory at Meissen began production in the early eighteenth century, the wares produced there were heavily reliant upon Asian forms and motifs. These plates were among the earliest European wares produced in porcelain and derive their decoration from Chinese models.

Kakiemon plate with beast, crane, insects https://collections.artsmia.org/art/4739/

small domed brick bldg. with 9 windows atop ring; "V" shapes connect bldg. to ring at sides; 4 silver birds at bottom edges of ring; gold chain

Wedding ring on chain https://collections.artsmia.org/art/83246/

bottle with slightly flaring shoulder and long, narrow neck; shaded glaze, bottom to top: orange, green, blue; wavy horizontal ribs on body

Tortoise glazed tall bottle https://collections.artsmia.org/art/48267/

silver and gold skyscraper with corner turrets; small

"Skyscraper" still bank https://collections.artsmia.org/art/83707/

teapot, creamer, sugar bowl and waste bowl are matte with a shiny band around the center; lid attached to teapot by a hinge; creamer and teacups are gold-colored inside; teacups do not have handles

Cup and saucer, from a children's tea service https://collections.artsmia.org/art/29988/

oversized dreidel fits onto plexiglass base; upper section lifts off openwork base; top portion unscrews from cube body; body unfolds, with candleholders on top

Combination Hanukkah lamp and dreidel https://collections.artsmia.org/art/83247/

Presented by Emperor Napoleon the First to Prince William of Prussia in 1808; painted with scenes from the Fables of La Fontaine.

Saucer from a tea service for twelve https://collections.artsmia.org/art/10205/

Handwrought sterling silver with carved ivory handle The use of ivory in handles of silver vessels and containers as an insulator against heat is several centuries old, but Johan Rohde integrated this material into a very modernist, twentieth-century Scandinavian design.

Pitcher https://collections.artsmia.org/art/6962/

#36-1950

#36-1950 https://collections.artsmia.org/art/2039/

Red beaded bag with round black and white pattern

Evening bag https://collections.artsmia.org/art/40448/

abstract rectangular object with separate wedge; hollow wood burl with crack like openings and holes; wedge positioned under larger piece and protrudes on one side only and is for visual balance not stability The striking rock formations of Bryce Canyon in Utah inspired Michael Peterson to explore land surfaces through his vessels, sandblasting and bleaching in order to translate the idea of erosive forces working to sculpt and patinate the surface of wood. Those vessels led to recent madrone sculptures such as this one, carved damp with a chainsaw and left to shrink and warp as it dries. Working intuitively, Peterson allows the forms to reveal themselves as he goes along. He sandblasts and stains the wood to exaggerate the grain and texture. Ironically, these highly worked pieces look as though they were found in the natural landscape. According to Peterson, he "places a lot of importance on the tactile quality as well as the visual success of the surface," feeling that his work is meant to be read with both the hands and the eyes.

Sculpture https://collections.artsmia.org/art/113437/

one of a set of six

Salt cellar https://collections.artsmia.org/art/23052/

man in dark blue shirt, grey pants, orange cape, dark blue hat with yellow trim holds gun in hands aimed at broken tree trunk with yellow flat top; rectangular green platform at base

"Volunteer Bank" mechanical bank https://collections.artsmia.org/art/81106/

faience figure of a nude youth wearing a rustic hat, holding a standing dog by its neck; covered by a viscous white glaze

Figurine https://collections.artsmia.org/art/8937/

cockerels, hens, peacocks, ducks and geese in a landscape with gilt scrollwork and purple band and evergreen garland on band

Coffee Pot with lid from Solitaire Set https://collections.artsmia.org/art/28548/

on marble base

Bust of a Child https://collections.artsmia.org/art/3144/

"DCM" chair (Dining Chair Metal)

"DCM" chair (Dining Chair Metal) https://collections.artsmia.org/art/4197/

Hammered; teardrop form with incised striations

Tea kettle https://collections.artsmia.org/art/7115/

decorated with moulding and feather edging; tureen finial and twisted handles have been applied by hand; finials on the serving pieces are in the shape of a bud; some pieces are potted thicker than others

Plate, from a Child's Dinner Service https://collections.artsmia.org/art/29900/

transfer design in brown, grey and cream of a man sowing seeds; second man at L is plowing; "OCTBR/ 31 days" in ULC

"October" Tile https://collections.artsmia.org/art/89795/

Caster with brass top

Caster https://collections.artsmia.org/art/17766/

inlaid with shells and rosettes

Cased Banjo Barometer https://collections.artsmia.org/art/28557/

short ovoid form with pair of handles, one attached to each short side; lid has copper luster bird for handle; one side of bowl decorated with image of Independence Hall; opposite side has eagle from U.S. Seal

Sugar Bowl, from Architects' Tea Set https://collections.artsmia.org/art/31903/

flying saucer-shaped, with flat foot, flaring outward to low, wide shoulder; flat top flaring inward to wide mouth opening; tans, light brown, mottled red-orange areas and two irregular black areas; star-like pattern at interior bottom; high gloss finish Philip Moulthrop's father Ed discovered nature's hidden beauty through his work with ashleaf maple, a wood local to Georgia, which when turned reveals surprisingly vibrant swaths of reddish pink. Philip and Matt Moulthrop continue to work with this colorful wood, as seen in this flying-saucer shaped bowl.

Vessel https://collections.artsmia.org/art/106773/

dish, large with flat broad rim

Plate https://collections.artsmia.org/art/15240/

dish ring, pierced and chased, with reeded edge at top and bottom; the six pierced medallions show a leaf design

Dish ring https://collections.artsmia.org/art/15677/