Marre Moerel Anatomy Series Signed Edition Corpus Murano Glass Vase Covo, Italy

Marre Moerel Signed and Numbered Limited Edition "Gluteus" Murano Glass Vase for Covo, Italy, ca 2001. This vase is part of her Anatomy Series and is numbered #5 of 29. The glass is a deep purple color (eggplant or wine) cased with white glass sandwiched with a pink/clear glass on the interior. Marre has said that the shapes were in reference to the beauty of the human body and colors chosen to reflect the variety of skin tones. Highly evocative and intriguing, this design is beautiful and also evokes conversation and thought. A true piece of art! This sculpture is part of a project named Smash, and curated by Emmanuel Babled for Covo in 2001. A group of famous designers (James Irvine, Jeffrey Bennet, Jerszy Seymour, Marre Moerel, Richard Hutten, Ritsue Mishima...

Robert Kuo Faceted Imperial Yellow Peking Glass Vase and Ball, ca 2000s This is a beautiful vase and ball executed by Robert Kuo around 2005. Both the vase and ball are signed by t...

Karim Rashid for Leonardo Germany Limited Edition New Move Silver Glass Vase, ca 1999. Measures 8” high, base 3-1/2” wide, and mouth 2-1/4” wide. There is a small scratch of silver finish/coating on glass (we've posted an image of the interior and exterior at the area of the scratch). There is also a faint area of small blemishes at the base See images for more detail. If there’s one thing karim rashid hates, it’s trophies. The 40-year-old designer has more than 40 of them, from big international ones like the 1999 George Nelson Award (given for breakthrough furniture design), to quaint little Canadian ones like Designer of the Year 2001. “It came with a little pin,” says Rashid, “and a … a … very nice …” He tries to describe the shape of the award with his hands but gives up. “It’s time that whole trophy thing changes. It’s kitsch. They’re functionless things.” Rashid was asked to design one for the DaimlerChrysler Design Awards (he’s a past recipient). “I was going to make it electro-luminescent. When the lights go out, it has a sensor so it turns on,” he says. But the trophy-as-night-light, a reminder of one’s worth in the darkest hours, didn’t impress Chrysler’s people. He never heard back. They may well be gnawing their knuckles over that decision right now because Rashid’s conquest of the realm of product design is all but complete. A lush and suitably worshipful retrospective of his work, Karim Rashid: I Want to Change the World (Thames & Hudson; 249 pages), hits Australasian bookstores this month. There was a crowd around anything with his stamp on it-including stools, chess sets and storage units-at the recent International Contemporary Furniture Fair in New York City. More than 2 million North Americans are throwing their rubbish into a receptacle he designed, while 750,000 or so park their rears on one of his cheapo plastic chairs. It’s not just in North America. He has been dubbed Der Poet des Plastiks by a retailer in Germany and the prolifico progettista Americano by Interni magazine in Italy. Trophies he may despise, but accolades Rashid can handle. The problem with being the Most Famous Industrial Designer in All the Americas is that you’re still less famous than someone who got kicked off Survivor the first week. Most people cannot name the designer of one nonclothing item in their homes. Rashid, who was born in Egypt, raised in Canada and is living in New York City, is more than happy to bring an end to this anonymity. Not just because he wants to be famous, although there seems to be that, but because he believes design should be a bigger part of the social discourse. “I have been almost alone in this country, trying to make design become a public subject,” he says. His chief method of persuasion is to make the banal better so that people notice design more. He likes creating expensive furniture and perfume bottles just fine, but what really gets his juices going is the everyday: manhole covers, a cremation urn, disposable cigarette lighters, garbage bins, salt and pepper shakers, plastic pens. “I want American Standard to come to me to do the toilets for Home Depot,” he says. In many ways Rashid is more like an itinerant industrial evangelist than a designer. He traveled 200 days last year. He claims to have been to every major mall in America, where he signs his products in high-end design stores and trolls about observing humans interacting with the objects around them. He has taught at design schools for more than a decade, and his work has been in 11 art shows in the past eight months. But mostly he has proselytized the corporate barbarians. And like any good missionary, he has learned to speak the language of his converts. One of the first things he does when he gets new clients is tour their factories to understand their manufacturing capacity. He also visits the retail outlets to see how the product might be displayed. And he really knows how to sell, especially himself. “I work with a guy in L.A.,” says Rashid, declining to name him. “He made a lot of really bad furniture. His business was hand-to-mouth. I proposed seven or eight projects. The pieces I’ve done for him have already become iconic.” The subtitle of his monograph, I Want to Change the World, is not ironic, just characteristically immodest. “Most industrial-design studios try to interpret a client’s needs and come up with a style,” says Paul Rowan, co-founder of housewares manufacturer Umbra. “Karim has his own personal vision.” It helps that Rashid’s vision incorporates things that Rowan needs, like a design that will stack and ship easily and that creates little waste in the making. Rashid’s father was a set designer for Canadian TV who rearranged the family furniture every Sunday. So perhaps it was ordained that Karim would grow up to become one of the pioneers in non-cheesy plastic, making objects that have energy and personality but aren’t wacky. He, like many of his generation, has championed the could-only-be-designed-with-computers blob. But his is not just a blob for its own sake. His Oh Chair...

Robert Kuo Monumental Limited Edition Cream Lacquer and Copper Liao Floor Vase, ca 2005. This is a beautiful and elegant floor vase that's sure to make a strong presence in any room, whether of a traditional, modern or contemporary design. Quality is the calling card of all Robert Kuo designs and meticulous attention to detail is seen throughout this piece. This is an heirloom quality piece for those with discriminating taste. Robert Kuo's own story presents a life that partakes of the best of Chinese and 20th century traditions. Born in Beijing, he moved with his family to Taiwan in 1947. Kuo grew up in an artistic environment. His father, an art professor and Chinese watercolor painter, started a cloisonne atelier where Robert became an apprentice at age fifteen. Although he never engaged in formal art studies, Kuo gained technical expertise and learned about decorative tradition from "hands on" training. As he mastered each of the steps involved in cloisonne from preparing copper bases to enameling and firing the kilns, Kuo absorbed all the basics that were to serve him throughout his artistic career. While pursuing his studies in Taipei, Kuo assisted his father in the creation of a cloisonne studio. A visit to the United States persuaded the young artist/entrepreneur that the American environment would benefit him, both personally and professionally. In 1973, he immigrated to the United States and opened a studio for cloisonne in Beverly Hills. Kuo cultivated a clientele that appreciated the way he "opened up" Chinese tradition. Utilizing the influences of Art Noueau and Art Deco, Kuo introduced new shapes, finishes, and objects to cloisonne It was during this time that the Smithsonian's Sackler Gallery acquired his "Goldfish Bowl", with its lively naturalism. In 1984, he erected the airy, contemporary building that is still home to Robert Kuo. Located directly across from the Pacific Design Center at Melrose Avenue and San Vicente Boulevard, the Kuo Gallery quickly became a favorite stop for designers seeking distinctive decorative objects for their clientele. By 1985, Kuo shifted his focus from working in cloisonne to repousse, the art of hammering decorative relief onto metal. Instead of applying enamel to a copper base, the artist began to experiment with applying different finishes to the hammered base. Kuo looked to China for artisans experienced in ancient techniques. He trained craftsmen to adapt their skills to repousse forms and objects. Today, he spends 4-6 months of the year in China to create new pieces, which are then finished in Los Angeles. Robert Kuo offers a wide variety of decorative objects, from small tabletop pieces to furniture and large landscaping elements. The work can be seen around the world, from the National History Museum in Taipei to exclusive hotels like the Singapore Ritz-Carlton, San Francisco's Hotel Palomar, Las Vegas MGM Grand Villas and New York Four Seasons. He is inspired by organic forms found in nature, as well as the timeless "motifs" of the Chinese Han and Ming dynasties - often combining them with Deco and Nouveau influences. Sophisticated design showrooms in the U.S. and Europe such as McGuire and Baker Furniture represent Robert Kuo accessories and lighting, while Gump in San Francisco sells special pieces and holds Kuo exhibitions twice a year. While most of his recent work has been in repousse, he has designed a new collection of cloisonne lighting...

Murano glass lovers sculpture signed Schiavon. Italy, 2012.

Italian handmade Murano glass abstract form sculpture. Signed by the artist, probably Sergio Costantini. The base is black glass and the sculpture is in multicolor Murano glass creat...

Big elegant sculpture in Murano glass in the shape of a human hand by the Italian artist Vistosi. His signature is engraved on the bottom of the sculpture as shown in pictures.

1970s Italian Murano Signed Colored Glass Animalier Sculpture A beautiful and rare object handmade by the Murano masters, representing an animalier crystal sculpture in the shape of...