Glass

Incredible big Murano vase bicolor with bubbles and "costolato" perfect conditions

Elegant Venetian Squared Glass Bowl with ribbons of white and aubergine latticino work. Remnants of paper label circa 1950's, Murano Italy.

A small vase with opaque black and white striping, by Barovier.

Art Deco Boom, Hand made Vase Origins from Belgium 1930s Art Deco style with a geometric design Vase was apparently made at several factorie...

PAIR Murano art glass Barbini Aquarium paperweight sculptures with fish and seaweed encased in the solid glass sculpture. The shorter bookend is 6.25 ...

Made in Italy, 1950s - 1960s. This wonderful vase / bottle is made in black and transparent mezza filigrana Murano hand-blown glass. It is a vintage piece, therefore it might show s...

incredible pair of candlesticks in Murano glass by Archimede Seguso in perfect conditions

Ercole Barovier for Barovier and Toso Rare Murano glass Sculpture of a Donkey in vibrant red with gold applied accents. The leg is up. Rare art deco sculpture. The nearly fifty y...

A 1950s six-piece set of etched crystal balloon glasses by Atlantis. Perfectly proportioned crystal stemware featuring exactingly hand-etched vertical...

Large Flavio Poli Seguso Vetri D’Arte Attributed Sommerso Art Glass Murano vase. Retains its original Paul’s distributor label. Very sleek and elegant design.

Incredible Murano blue vase with 50 style perfect for flowers, shelves or tables.

Glass factory de Rupel, boom, Belgium. Set with a decanter and 7 matching glasses and a serving tray. Dimensions: decanter Height 15 cm 5.9 inch Width 10 cm 3.93 inch. Dimensions: liqueur glass Height 4 cm 1.57 inch Width 4 cm 1.57 inch Dimensions: serving tray Length 31 cm 12.2 inch Width 18 cm 7.08 inch. De Rupel glassworks started production in 1925 in Boom, a small village between Brussels and Antwerp in Belgium. The increasing success of the Val-St-Lambert factory was encouraging, and orders for hand blown and semi-automatic-made beer glasses were enough to keep the small factory busy. They were the producers of the distinctive and iconic Duvel beer glass. In 1935 the company hired Paul Heller...

Made in Italy, 1950s. Made in hand-blown glass, in Empoli: as a matter of fact the same drinking glass with a slightly different shape, is in the Glass Museum in Empoli. It is a vint...

Balenciaga Paris perfume bottles trio in box. Offered here is a darling trio of great Balenciaga perfumes in little quarter ounce flacons. The pe...

Large Dino Martens Aureliano Toso Attributed Murano Art Glass Latticino Vase In vibrant multi color individual canes. Very well executed Murano art glas...

Made in Italy, 1980s. These flutes are made in very thin Murano glass. They can also be use as flower vases. They are vintage, therefore they might show slight traces of use, but the...

In a good condition beautiful Art Deco carafe with blue and white dots. The carafe is probably from Belgium or France.

Alfredo Barbini Murano glass shell sculpture in Bollicine glass with gold Highlights. Vibrant pink color.

Alfredo Barbini Murano glass sea shell sculpture in vibrant green art glass. Another amazing and large shell sculpture to complete your collecti...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Ercole Barovier Barovier and Toso Murano Cordonato D’Oro Vase, circa 1950s In reddish pink with gold highlights.

Two Nils Landberg "Sommerso" glass vases for Orrefors Grey / Green & Clear Glass Both signed on the bottom with etched signature. larger triangular vase = 3" x 3" x 9" smaller square vase...

Rare original vase by Dino Martens to Aureliano Toso repertoire in the book Dino Martens by Marc Heiremans model 5412.

Degue: David Guéron David Gueron, Turkish and a former fighter of the French Foreign Legion, was the founder of the "Cristalleries De Compiegne". This glassworks mainly produced ho...

Degue David Gueron, Turkish and a former fighter of the French Foreign Legion, was the founder of the "Cristalleries De Compiegne". This glassworks mainly produced household glass i...

Art glass vases produced by orrefors , and designed by famous Nils Landberg. Wonderful glass with exceptional color that collaborates with the clear glass. These two are a great loo...

Vaso em vidro artístico soprado de Murano com grossa camada de vidro e coloração contrastante de rosa e amarelo.

Vase in blown glass attributed to Fulvio Bianconi from Murano with hole in the center for a good grip.

Rare bowl for cigars in Murano glass attributed to Barovier e Toso, circa 1950.

Collection glass in multicolored Murano glass, made in the 1950s Ø cm 12 h cm 34

Very beautiful set of glasses and decanter in Lorraine crystal dating from the 1950s, consisting of: - 6 wine glasses - 6 water glasses - 6 flutes ...

Antique French set of 3 glass wine cups on a brass tray. Made by unknown manufacturer in France, circa 1950. In original condition, with minor wear consistent with age and use,...

This stunning Mid-Century Modern translucent crystal centerpiece bowl was realized by the storied maker Daum in France circa 1950. It offers a stylized amorphic form with three point...

Romantic Murano glass tray. This tray features a reverse etched dancing couple in a lakeside garden under a tree. It also has a twisted rope glass b...

Large Murano Art glass Sommerso bowl attributed to Flavio Poli for Seguso Vetri D’Arte circa 1950s.

Art Deco glass vase, Germany. With horizontal silver inlays. 1930s-1940s. In good condition with minor wear. Dimensions: H 10,5 x D 8,0 cm.

A wonderful hand blown Murano soliflor glass vase of the Sommerso collection designed by Flavio Poli and manufactured by Seguso Vetri d'Arte, Italy in the 1950s. An exquisite exampl...

Vaso em duas tonalidades produzido por Archimede Seguso circa 1950 com tecnica "costolato oro" e folhas aplicadas na lateral.

Amazing deeply acid etched and polychrome enamelled Moser Egyptian 'Lion Hunt' vase depicting a hunting chariot, an upright lion and palm trees. designed by Ludwig Moser's youngest s...

1950s Retro style cocktail shaker. Metal lid with attached spoon. Glass design features various retro cocktail receipies.

Whisky Set by Val Saint Lambert Decanter + 6 glasses Belgium, with Serving Tray Glass Factory Val Saint Lambert, Belgium. Set with a decant...

Unique ice tea, cocktail mixer set in cobalt blue glass with a silver Aztec design motif. The images appear to be hand painted in a sterling silver patina raku glaze. Each glass h...

Clear & colored blown glass. Great scale with internal bubbles and vibrant color stripes. Signed on underside by maker.

Dino Martens for Aureliano Toso attributed Murano complicated cane patchwork bowl. Spectacular Workmanship and amazing design.

Rainbow Art Glass Company (1942-1973); Rainbow Art Glass Co Hand Blown Deep Purple, Amethyst Insert Ribbed Round Vase. Made in West Virginia, USA ...

A Francois-Emile Decorchement (1880-1970) late Art Deco Pâtes de Crystal 'Loir' Paperweight. Designed 1952, Moulded as a dormouse, in browns and blues signed...

"Wien Antik", Lyngby Glas, Denmark, four green white wine glasses. 1930/40s. In perfect condition. Dimensions: D 7.5 x H 11.5 cm.

Cubic Vase by Anatole Riecke for La Coupole, representing Jean Gabin, 1958 Vase by Anatole Riecke, Cubic, in black opaline, representing Jean Gabin, ...

A thoroughly delightful vintage cut glass jug from the mid-20th century. Condition: In excellent condition, please see photos for confirmation. ...

These 12 Swedish vintage Sommerso and dusk glass vases, produced circa 1950s-1960s by designer Nils Landberg for Orrefors, with smoked charcoal interior, cased within a clear layer. ...

St. Louis, France, set of seven schnapps glasses in crystal glass. Faceted stem. 1930/40s. Perfect condition. Dimensions: H 9.0 x D 3.5 cm.

"Wien Antik", Lyngby Glas, Denmark, four green white wine glasses. 1930/40s. In perfect condition. Dimensions: D 7.5 x H 11.5 cm.

Val Saint Lambert in their Luxval series, in the 1930s. The vase is marked on the inside: "VSL Belgique" and is listed in the catalogue of Luxval of 1935, Val Saint Lambert, Luxval ...

"Wien Antik", Lyngby Glas, Denmark, four drinking glasses. 1930s-1940s. In perfect condition. Dimensions: H 13.5 x 7.5 cm.

Val Saint Lambert in their Luxval series, in the 1930s. Belgique" and is listed in the catalogue of Luxval of 1935, Val Saint Lambert, Luxval - Art Deco. The piece is in Good ...

Wien Antik, Lyngby Glas, Denmark, vintage set of four clear red wine glasses. Faceted stem. 1930s-1940s. In perfect condition. Dimensions: D 8.5 x H 13....

This is a large, massive duck sculpture from the 1950s made in the Sommerso and mezza filigrana technique. It is a decorative piece and was likely designed by Dino Martens for Fratel...

Antique French set of 3 glass wine cups on a brass tray. Made by unknown manufacturer in France, circa 1950. In original condition, with minor wear consistent with age and use,...