Glass

From the Cenedese personal collection. Here a set of 6 stem glass made in 3 different designs. All in light fume. This group is absolutely unique and would become the focus of a ta...

3-1093 Murano art glass yellow and white sculpture.

A fine and stylish mid-century unusual Italian, Murano glass bird in cased colored glass . The bird stands raised on a tall clear glass ribbed round base with orange and mottled brown cased glass body and neck, the neck with run down clear glass overlay containing silver foil aventurine. The bird has blue glass wings and yellow glass beak and tail. The chest of the bird is decorated with small scattered colored jewel like glass elements applied in relief. The bird is not marked. Provenance: Acquired in the UK Art...

Art Nouveau Daum classic cameo and carved vase depicting the flowering Nicotiana (Tobacco) plant in a very unusual brown over orange. Daum used the carved technique only on a few vases -it was much more time consuming that cameo - Nicotiana plant flowers were one of the few they always carved (Flowers are Carved - leaves etc are Cameo work). Nicely signed in cameo Daum...

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

Art Nouveau Daum medium large classic cameo vase depicting the cockscomb plant in black over red over a mottled yellow layer. Much of the black layer has fine 'blind' detailing (see image 7). Nicely signed in cameo Daum...

Vintage opaline from Florence. This is a rare color and size, a must have for any collector. Looks simply stunning. The piece is in excellent condition and a real beauty!  ...

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,...

In the model with irregular spherical decor blown body in baluster shape, round stand, bulbous widening upwards with four times indented wall, slight constriction, flared mouth rim pressed into quatrefoil, polished pontil. Shape: Production number / pattern not preserved Decor: Crete Diaspora Silver Iris Green glass with silver...

Vase with a three-pass floor plan, widening upwards, pressed in on the upper edge between the segmental arches, ground outer edges on top and at the base. Colorless glass with blue c...

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

Rare, 1950s set six of hand painted drinking glasses drawn by bandleader extraordinaire, Xavier Cugat. Glasses measure 5.75" in height by 2.75" diameter a...

Very nice centerpiece in Murano glass ,opalescent and aventurine glass by the well known Master Anzolo Fuga .

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...

“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...

Slender baluster-shaped vase body on a separate base, widening conically towards the top and then narrowing again to form a slender neck with a flared mouth rim, colorless glass with...

Elegant vintage Libbey barware frosted glasses with leaves pattern in a gold finish. Set includes eight highball glasses. Mid-Century Modern v...

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

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

A wonderful Tiffany Studios favrile glass decanter and stopper with pigtail design, Art Nouveau period, early 20th century, United States. The transparent glass with a wonderful subtle iridescence that plays beautifully with changes in the light. The tall decanter...

Vase with a three-pass floor plan, widening upwards, dented at the upper edge between the segment arches, outer edge ground at the top. Colorless glass with yellow-orange color powde...

Large Murano Art Glass Vase in Gold Pulegoso glass with Gold Applied Handles. The vase has a ribbed design. Sophisticated style and execution.

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 solid brass oval double sided swivel vanity table mirror.

Rare Murano glass bottle, museum piece in cobalt blue, Inciso series.

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

Five small turquoise opaline hand blown bowls by Paolo Venini (1895-1959) circa 1950 for Venini, opaque glass, acid stamp to each 'Venini Murano Italia'. Dimensons; each height 1 1/...

Barovier & Toso Decorative Murano Candelestick with Gold Rope Cordonato Oro. A Classic example of 'cordonato oro' (gold rope) technique with lobed and...

Finest Bohemian Art Nouveau glass vase: Mould-blown vase with torus-shaped stand and funnel-shaped attached wall with trefoil-shaped, lobed mouth rim, wall and inside satin-finished, polished pontil. Shape: Production number / pattern not preserved Decor: Cobalt Papillon...

Parrot-shaped sculpture Psitaccus Dino Martens (1894 - 1970) Vetreria Artistica Rag. Aureliano Toso, 1953-1956 It measures 9.055 inches in height x 4.13 in x 5.90 in (23 cm, 10.5 cm x 15 cm) It weighs 1.997 lb (906 g) State of conservation: intact. The small glass sculpture...

Antique vintage glasses. Made by unknown manufacturer in Spain, circa 1950. In original condition, with minor wear consistent with age and use,...

This stunning vintage burgundy red and clear cut glass vase has a honeycomb pattern that reflects an optic design. It looks art deco meets mid century modern. The rim is flat cut pol...

Murano corroded glass bottle cobalt blue midcentury Italian Design.

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

This is part of a series called " Zoo" beautiful animals in sommerso glass .In black light you can see light uranium green glass .

A set of three antique Demijohn glass bottles from Barcelona. Made by unknown manufacturer in Spain, circa 1950. In original condition with minor we...

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

Mid-Century Modern Pair of Engraved Glass Panels, 1950s.

Fulvio Bianconi "Pezzato" Glass Vase, 1951 Venini Murano green blue red vase Marked: Venini H : 28 cm (11") Overall Very good condition The "Pezzato" (Patchwork) series took Bianco...

A stunning and very large vintage Italian Murano Arte Vetrairia Muranese (AVEM) tutti frutti green glass dish by renowned designer Dino Martens (Italian, 1894-1970) and dating from a...

A stunning vintage Italian Murano Arte Vetrairia Muranese (AVEM) tutti frutti green glass dish of clam shell shape the inner bowl decorated with zanfi...

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. ...

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

Vintage 'Space Age' of Murano Pastel opaline vase soliflore Florence 1955 This is a rare color and size, a must have for any collector. Looks simply stunning.

Pair of egg cups in jade glass, Portieux Vallerysthal production, France, 1950s They measure 9 cm in height by 5 cm in diameter, in excellent storage conditions.

Scandinavian Modern Gunnel Nyman Amber and clear Art Glass Vase Finland, 1951 A spike-mould blown, clear and amber coloured, cased glass Art-object, model GN 12. Designed by Gunnel Nyman in 1947 and executed by the craftsmen of the Nuutajärvi-Notsjö Glassworks in 1951. Model GN 12 was made between 1949 and 1953 in three different colours: clear glass, amber and lilac. It's interesting to note that the two coloured ones were more expensive than the clear glass specimen and still are more sought after by collectors. This Art-object is acid-signed underneath the base: G. Nyman - Nuutajärvi-Notsjö - 51 (1951). The signature has faded slightly but is still perfectly readable. Condition This art-object is in good vintage condition, some minor scratches and wear consistent with age and use. No cracks or chips. Literature Mel Bryars - The Design Encyclopedia p. 547 Dimensions Height 19.5 cm Diameter 13 cm Weight 1028 grams Shipping Worldwide Complimentary Shipping. About the Artist Gunnel Nyman (Turku 1909 – 1948) was a Finnish designer most known for her modern art-glass design. She was educated at the Central School of Arts and Crafts in Helsinki under Arttu Brummer. During her short but brilliant carreer - she died while still in her thirties - she designed glassobjects for all the major Finnish glassworks. First at Riihimäki from 1932 until 1947. Followed by Karhula from 1935 to 1937, Nuutajärvi-Notsjö from 1946-1948 and finally Iittala from 1946-1947. Besides glass-objects she also designed furniture and light fixtures for Taito in the late 1930's. Her style was characterised by a strong sense of form and a subtle articulation of surface and mass. Ada Polak, a famous French glass-historian wrote about Nymans creations: "She had an intense feeling for the soft pliability of the material. While the effect of inlaid colours and bubbles were exploited in a series of graceful vases" and "Whetever technique she employed, she gave to all her designs a subtle touch of true poetry". Gunnel Nyman was awarded citations and medals in the 1933 and 1936 Riihimäki glass competition. A gold medal and silver medal at the Exposition Internationale des Arts et Technique dans la Vie Moderne in Paris. And a posthumus gold medal at the 1951 Triennale...

Pair of Murano glass vases of different sizes, “Incisi” series, made to designs by Paolo Venini. Heavy violet and iron gray glass in superimposed colors, finished with light horizont...

"Porpora" murano vase by Ercole Barovier for Barovier & Toso. Model first created for the 1954 - BIENNALE DE VENEZIA. Portrait of Ercole Barovier from the Barovier & Toso archives ...

These are the classic, iconic champagne flutes made by St. Louis in a perfect set of 12. Hand blown crystal with optic rib cutting, zipper cut stem and star cut base. The subtle ribb...

Vase in the shape of a drum on an oval, short base, slightly tapering towards the top in depth, at the top as an opening an arcuate cutout with a slight beaded edge. Colorless glass ...

Kaj Franck Woodcock "Lehtokurppa" model KF224 for Nuutajärvi, 1954. A beautiful art glass object, designed by the brilliant Kaj Franck, this rare piece was in production only from...

Charming glass decanter with its cut glass stopper. Carafe decorated with gilded edging and band of gilded foliage. Circa 1950.

Bohemian Glass Vase Loetz Austrian Jugendstil Yellow circa 1901 decoration PG 1/154 One of the main reasons for the big success of Loetz at the Pa...

Fabulous large red, dark grey and clear textured and fluted glass vase. Measuring height approximately 30.5 cm / 12 inches, and the fluted top is dia...

Legras Hand-painted Decoration Glass Vase, Date: 1900-1914 Period: Early 20th century Origin: St. Denis, France Color: Enameled with magenta crimson hues on a peach ground Bo...

Scandinavian Modern Saara Hopea two sizes Glass Bowls Blue Green Handblown 1950s Two mold-blown, clear, dark-blue and moss-green cased glass Art-objects / bowls, model SH117. Designed by Saara Hopea in 1956 and executed by Nuutajärvi-Notsjö in 1958 & 1959. An optical effect makes it appear as if the colour goes to the outer edges but the encasing is only in the interior. These objects were made between 1956 and 1967 in two sizes 9,5 cm and 13,5 cm in diameter, and in several colours (blue, green, yellow, purple and red) this being a complete set in green and blue. Both are early production examples. They are marked and dated in diamond pen underneath the base. About Saara Hopea Saara Elisabet Hopea (Porvoo 1925 - Porvoo 1984) was a Finnish designer of Art-glass, furniture and jewellery. Saara Hopea was born in 1925 in Porvoo, in the south of Finland. Her parents Ossian Hopea and Lempi Westerlund owned a goldsmithing company. After attending secondary school, Hopea studied at the Interior Design Department of the Central School of Art and Design, now the Aalto University of Art and Design. She graduated in 1946, and worked for a few years as an illustrator, then she accepted a job at the lighting factory of Taito Oy, headed by the renowned designer Paavo Tynell. In the early 1950's, Saara Hopea became interested in glass design and started working at the Nuutajärvi glass factory, where she worked under artistic director Kaj Franck. After her father's death, Saara Hopea took over the direction of the family business Ossian Hopea Oy in 1959. She worked as the artistic director from 1959 to 1960 and again from 1967 and was responsible for numerous jewellery designs. In 1960 Saara Hopea married Oppi Untracht...

A thoroughly delightful superb quality vintage cut crystal glass vase dating from the mid-20th century. Condition: In excellent condition...

Midcentury hand blown crystal vase by Art Vannes A stunning very heavy piece in natural crystal in a stylized floral shape design, made ...