Art Glass Furniture

Beautiful vintage Murano hand blown white and gold flecks Italian art glass baby bird figurine sculpture. Documented to the Seguso Vetri d'Arte company, recently found on their illus...

Discover the exquisite craftsmanship of our Light Blue Murano Glass Bedside Tables, a testament to the timeless elegance of Italian design. Handcrafted in 2022, these unique pieces...

Imagine walking into a tastefully decorated room and immediately noticing two beautiful white and gold bedside tables that catch the eye with their refined elegance. The nightstan...

Exclusive production with precious Murano glass leaves with gold intrusion, creating a fabulous light effect. Available also with ice color glasses. Frame; gold-plated or nickel. ...

Spectacular ceiling lamps with 32 Murano frosted carved glass leaves in golden painted metal frame. Elegant lighting object. Period: late XX century Dimensions: 17,50 inchs (45 cm) h...

Exceptional in both size and artistry, this sand-polished cameo art glass vase from the famed Art Nouveau master Émile Gallé features an exceedingly rare alpine scene. The artist's l...

Made by Feigl and Morawetz Libochovice and designed by the Czech sculptor Karel Zentner. An antique figurative ashtray made out of clear pressed glass, partially frosted. Figurative ...

This large and substantial art glass vase is unsigned, but presumed to have been done in Murano Italy in approximately 1965 in a Barovier Mid-Century Modern style. The vase is done w...

This is a vintage lidded soap dish. An English, art glass bathroom tray in Art Deco taste, dating to the early 20th century, circa 1930. Wonderful green glass with an appealing dec...

Il comodino con la sua superficie in vetro nero trasmette una sensazione di freschezza e eleganza. Sui suoi lati verticali, sono presenti raffinati dettagli in ottone, che si estendo...

Fantastic pair of vintage Murano wall sconce made by 10 blue glass petals (transparent crystal, smooth outside, with crystal powder and then rough inside) in a chrome frame. Period:...

Scopri la nostra esclusiva credenza a due ante, un'opera d'arte artigianale che unisce eleganza e funzionalità. Il vetro bisellato blu zaffiro delle ante conferisce un tocco di raffi...

Mid-20th century Modern italian frosted Murano glass decorative scavo bowl by Alfredo Barbini By: Alfredo Barbini Material: glass, Murano glass, art glass ...

Icomodini con la sua superficie in vetro blu e oro trasmette una sensazione di freschezza e eleganza. Sui suoi lati verticali, sono presenti raffinati dettagli in ottone, che si este...

Il comodino con la sua superficie in vetro rosso Cartier trasmette una sensazione di freschezza e eleganza. Sui suoi lati verticali, sono presenti raffinati dettagli in ottone, che s...

Chandelier, brass, glass, Europe, 1970s. Extreme large chandelier with brass fixture and art-glass. The chandelier with brass frame consist of twelve-light, formed in a circle, with...

This pendant was designed for exhibit for the Czechoslovakia Pavilion at the Brussels World Fair in 1958. The shade is in remarkable condition with no scratches, cracks or chips, th...

The "Torchon" mirror is the first mirror in our vintage collection due out in 2021. With its classic and harmonious style, the "Torchon" mirror adapts to...

Delight in the artisanal charm of this handcrafted 1970s floor lamp, a treasure from the renowned isle of Murano. Celebrated for its glassmaking heritage, Murano glass is the medium of this exquisite 1970s piece, reminiscent of the artistic flair of designers like Gae Aulenti and akin to the masterful works of Carlo Nason for Mazzega. This lamp showcases a distinctive design, composed of a singular glass form that gives the illusion of two merged orbs. The handblown glass is adorned with a spray of amber and white flecks, creating a feather-like pattern that encircles the lamp with an organic and dynamic texture. The glass diffuses light...

Beautiful vintage Murano hand blown black and white spotted Italian art glass baby duck bird figurine sculpture. Documented to designer Archimede Seguso, from the "Bianco Nero" serie...

This Mid Century glass dish exudes a retro charm, crafted from luminous bright green glass. Its bold and vivid design draws inspiration from the iconic 'a grosse costolature' dish by...

Led light Unique wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Symbolising the uniqueness of every human being, Unique celebrates one’s au...

'Woven Three Tone Blue Ovoid (sm)' is a unique handblown, sculpted and cut glass sculpture by the British artist, Layne Rowe. Rowe’s inspiration is drawn from the dramatic Devon coa...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

Treason wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Like a crumpled up piece of paper, Treason embodies ...

Beautiful vintage Murano hand blown swirling white and aventurine flecks Italian art glass footed flower vase. Atrtibuted to Arte Vetraria Muranese (A.Ve.M.) company, and in the styl...

A beautiful pair of pale amethyst, ribbed glass pendant lights. Brass light fixture, rewired for American use. 4' of brass chain and ceiling canopy inclu...

Breeze Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Breeze modern wall decor captures the essence of a massive, crashing white wave, mirr...

Vintage Italian Murano chandelier in Vistosi style. The chandelier has 24 fantastic iridescent alabaster honey discs in a nickel metal frame. Period: late XX century Dimensions:41,...

An enormous mosaic art framed floor mirror by the artist Marjorie “Midgi” Rappaport . Measures 6 feet tall X 8 feet wide. Marjorie was married to ...

These lamps is simple in shape but certainly in effect. The base is in the shape of a star and is totally mirrored. In the image in the picture, the color is amber that becomes, than...

Imposing Handcrafted Murano Glass Table Lamp with Submerged Bubbles. This contemporary table lamp, crafted entirely from exquisite Murano glass in a rich gold hue, embodies Italian a...

Vibrant and lively mirror that enhances any room with bold charisma and creativity. Additional Information: This piece is from a series of mirrors inspired by Italian Mannerist painter Giuseppe Arcimboldo, composed of swirls, rosettes, flowers and leaves - some of the most typical elements of craftwork on Venetian mirrors - in the place of beards, eyes, noses and hair. The mask and the mirror are both typical Venetian artistic products: combining the two creates a new mask which maintains the decorative details typical of the antique Venetian mirror while downplaying any seriousness with irony and levity. These playful, exuberant and riotously colorful wall mirrors are produced by an illustrious family of master Venetian glassmakers, prominent for centuries as the finest glass artisans in the world, known today as Barbini Specchi Veneziani. This series ('Ms. Italia', 'The Clown', 'The Biker'), designed by Lucia Massari...

Beautiful and large, antique Murano hand blown Millefiori Murrina flower mosaic Italian art glass double handles vase. Documented to the Fratelli Toso company, circa 1900-1920. Amazi...

A sophisticated Venetian modern design vertical photo frame in thick blown Murano glass worked in a luscious deep blue jewel color, by Barovier Toso, signed piece. The elegant texture of the tightly twisted glass frame...

Contemporary Murano glass mirror, composed of an external beveled band in clear mirror, and an internal beveled band of red color with...

Italian vintage pair of wall sconces in Murano glass and nickel-plated metal structure. The armor polished nickel supports 18 large clear glass tubes in a star shape for each lamp. ...

Venetian Handblown water glasses in clear blown Murano glass, interestingly decorated like a modern painting that resembles a Monet Lily painting with an ...

Sklo Union Chribska Glassworks, Vintage Pink Cranberry Sommerso Footed Bowl Stunning mid century modern star-shaped footed bowl in clear and pink/cranberry by Josef Hospodka (Czecho...

These large size & marvelous shape mouth blown pendants / chandeliers are in near-mint condition. To give you a better idea of the unique size of this striking, frosted glass Murano pendant we have added image 3 where one is placed next to a very small Venetian pendant...

A contemporary Italian bespoke modern chandelier with Art Deco Design, entirely handcrafted in Italy, customizable as flushmounts or pendant chandelier with different glass colors and finishes, here with a brass structure in a Minimalist geometric circular flared shape, with a frosted glass bottom to diffuse the interior light enclosed by a row of very organic geometric plates...

Set of "Thomery" glasses, tray and decanter made in glass by René Lalique in 1931. 2 pieces with engraved signature and 2 pieces with stamped signature. All pieces are signed "R.LAL...

Vintage Italian Murano chandeliers in Vistosi style. Each chandelier has 24 fantastic iridescent alabaster honey discs in a nickel metal frame. Period: late XX century Dimensions:41,...

Antique Victorian Micromosaic gilded brooch, Italy early 20th century A Victorian micromosaic brooch with a central floral bouquet motif surroun...

Art Nouveau ceiling lamp Photography fails to capture the simple elegant illumination provided by this lamp. Fitting Bakelite pendant ceiling light with screw fixing to hold a stylish Belgian Art Deco...

This boxes are a beautiful invention of the master glassmaker Toso Murano who designed them in 1982. They can be used as jewelry boxes, and they are beautiful thanks to the reflectio...

Large Effetre International Murano ceiling pendant lamp designed by Lino Tagliapietra. This is a stunning example of Italian craftsmanship with artistic flair. The lamp features a la...

A beautiful Bohemian pink small glass fruit tumbler with exquisite applied gilt enameled decoration. Made by the Moser Glassworks factory, circa 1880 - 1930, unmarked. These tumblers...

Since the beginning thanks to the Italian hand-made used in our workplace, each unique item is a testament to our commitment to craftsmanship, with attention to detail and the finest...

Stunning floral glass and brass Sputnik chandeliers, Germany, 1960s. It requires 12 x E14 standard bulbs with 40W max each and compatible with the US/UK/ etc. Standards. Very good...

An impressive eighteen-arm chandelier made of smoked brass with frosted murano glass lampshades attributed to Angelo Lelli, a rare iconic Mid Century Modern Italian design pendant with wonderful curved shape and beautiful decorative detailing designed by the founder and creative director of the celebrated lighting company Arredoluce. 18 scrolled arms branch out from a central sphere creating an eye-catching effect enhanced by tulip flower shaped brass bobeche each housing white frosted Murano glass lampshades. The tall lampshades have a conical form to simulate a stylized flower. The whole rests on round satin glass drip pans. For something truly awe-inspiring, you need look no further, this large scale vintage chandelier is truly an elegant...

Beautiful vintage Murano hand blown white and yellow daisy flower Italian art glass paperweight. Documented to the Fratelli Toso Company. The paperweight has a large daisy made up of...

Pendant model 9030 designed by Paavo Tynell for Taito Oy. From the 1940s/1950s. Brass frame with glass and rattan lampshades. Good vintage condition, minor patina consistent with ag...

Signed Young & Constantin, numbered 048828, a sophisticated Art glass studio small vase with Art Deco flair in blown glass, with an empty drop shape core of rare color, a blush rose ...

Beautiful and rare, vintage Murano hand blown Sommerso light purple with circular murrines Italian art glass flower vase. Documented to Antonio Da Ros, designer / architect and Artis...

Beautiful, and large, vintage Murano hand blown Sommerso light blue over cobalt blue Italian art glass giraffe figure sculpture. The piece is documented to the Salviati company, circ...

Heading : Murano sommerso decanter Date : c1970 Origin : Murano, Italy Colour : Ink and pale blue sommerso cased in clear. Stopper : Elongated sommerso Neck : Tapered Body : Tapered ...

Art Glass Fish in the Ocean Aquarium Bubbles Paperweight 1960s. The vintage Art Glass orange fish with bubbles paperweight is a stunning piece that encapsulates the beauty of underwater life in intricate detail. Very unique and rare shaped Art Glass Murano tyle paperweight depicting an ocean scene or an aquarium with fish...