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...

Renzo Stellon for Salviati Orange Satin Finish "Drops" Vase 2003 This is a beautiful hand-blown reddish orange glass vase with a satin finish signed Salviati 2003 (first designed in...

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...

Measures 12-3/4” high, 7-1/2” wide at the mouth, 2-7/8” wide at the base. Stamped on base METAAL Grainware c 1992 Michael Lax Design ML-4012 There are some light scuffs and scratches especially toward the base, patina to finish. See images for detail. Michael Lax (1929–1999) was an American industrial designer who created household products for companies such as Copco, Lightolier, Dansk, Salton, Metaal, Mikasa, Tupperware, and American Cyanamid. Several of his best-known products, including the Lytegem lamp by Lightolier and the Copco enamel...

Italian modern Glass vase with irregular and round shape by Roberto Faccioli, 1990s Round base vase in finely handcrafted glass. The structur...

Astonishing Vase by Carlo Nason in Murano Glass. Made in italy made in 2005. The vase has the murano label and it's signed at the bottom C. Nason. The vase is in excellent condition....

Art glass vase designed by Emmanuel Babled (1967-) for Venini. An extremely rare artistic vase, created in the island of Murano by the sculptor Emmanuel Babled, back in the 2004. This sculptural tall vase is part of a limited edition of only 9 piece made by the Venini company from Venice. It is made in the shape of a sublime woman torso, blown in 3 colors of cased glass and finished with a delicate wheel carving. Technique: Blown art glass, triple cased, etched and carved at the wheel. Measures: 450.85 by 196.85 mm (17.75 by 7.75 Inches) Edition: Number 4 of 9. Signatures: Etched at the bottom, "Venini 2004 4/9 EMM. BABLED". with the original Venini decal label. Emmanuel Babled was born in France in 1967. He studied Industrial Design at Istituto Europeo di Design in Milan, graduating in 1989 and founding his own design studio in 1992. In 2010 Emmanuel Babled Studio moved to Amsterdam after many years in Milan. Since the start, he has developed a wide range of unique pieces and limited editions in self-production and for prestigious manufacturers such as Venini, Baccarat, Rosenthal and Covo. These pieces are part of private and public collections around the world. At the same time he has also designed Industrial products, furniture and lighting. His clients include Baccarat, Rosenthal, Venini, Bulgari, Iittala, Dupont de Nemours, Fontana Arte, Oluce, I&I, Laurent Perrier...

Murano glass vase by Seguso. Exhibited at Tingo design gallery in 2008 for the exhibition Murano a go-go. Out production. Original label and signed.