Glass

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 ...

Vintage opaline from Florence. This is an unusual period colorway and size, that will give a midcentury touch to your interior. Size of the smaller one H 12.6 in x D 4.33 in. ...

Tapio Wirkkala - A set of both sizes crystal art-object, model 3545 - Iittala Finland 1957 & 1958. Two turned mold-blown crystal art-objects with spiraled cut lines. These art-obj...

Model 3696 Alfredo Barbini Murano Abstract Vulcano Volcano Sculpture done in hand blown Murano Glass by one of the worlds best glass blowers Signed by the artist as shown. Retains th...

VERY LARGE Dino Martens Aureliano Toso attributed Murano complicated cane patchwork bowl. Iconic Mid-Century Modern design by one of the best Italian designers of the 1950s.

Vase by Per Lütken for Holmegaard , circa 1950, Denmark. "Labrador" model, aqua blue glass designed in 1958. Etched in the bottom Holmegaard, D, number 16912. Dimensions: 13 cm ...

Beautiful set of five bowls produced in pressed glass in a lovely rose colored glass. The set can be used in the house, or in kitchen for daily use. Marked as Made in Czechoslovakia....

3 Tulip Glasses Designed by Nils Landberg and mouth blown at Orrefors. First exhibited at the 1957 Milan Triennale . A difficult and elegant masterpiece . 2 @ 17"h, 1 @ 14.5"h Engra...

Rare Neolitico, Murano glass sculpture /paperweight in this Fish shape by Barovier & Toso, label.

Important pair Art Nouveau Baccarat crystal gilded cameo vases in deep red over pale green depicting a stylish aquatic scene with water lilies. As with most early Baccarat cameo...

A lovely pink glass sculpture / vase of model Coquille designed by Paul Kedelv at Flygsfors glassworks in Sweden in 1960. It is 27 cm (10.8") high...

Antique Spanish glass container with a metal cap. Made by unknown manufacturer in Spain, circa 1950. In original condition, with minor wea...

Empoli bottle.

Large double bird Barbarico vase designed by Ercole Barovier for Barovier and Toso. Textured black glass with irredescent finish. The vase is Signed with applied paper manufacturer's...

A beautiful large antique Italian Murano glass pharmacy / apothecary canister with lid. Elaborately hand-painted and gilt on white Murano glass, featuring figural motif and glass pep...

Gallé Nancy Art Nouveau finest vase made in France (Nancy, Lorraine) / circa 1900-1904 Specifications: Stunningly manufactured casing glass (colorless glass with various layers:...

Beautiful green color Apple, by the well known Swedish designer Ingeborg Lundin, This vase is marked, signed , Expo 32-57.

In a model with irregular spherical decor blown body in baluster shape, round offset base, bulging upwards, after a slight constriction flared mouthrim, polished pontil on the bottom. Shape: Production number / pattern not preserved Decor: Crete Diaspora Silver Iris Green glass with silver...

Venini Bullicante bowl in vibrant ruby orange with gold foil inclusions by Carlo Scarpa circa 1950. Measures: 4" x 4" x 2" high. 1950s Italy.   

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! With best wishes, Geert ?Early Bird Gallery...

Cobalt Blue Glass Jars – Mouthblown Cobalt Blue Glass Jars – Mouth blown. These are contemporary vases made for us in Hungary. They are heavy thick glas...

Beautiful graal vase by Edward Hald, crystal clear with nuances of green. Beautiful underwater motif of fish, where the layers of glass create a lively, wat...

Large Bohemian vase years 1950 Bohemian vase from the 1950s in red glass with decorated flowers in relief perfect condition measurements: 50 cm in height and 25 cm in diameter.

Quality antique silver plated six bottle cruet set consisting of a quality silver plated stand with six cut glass condiment bottle. The stand having a round carrying handle to the to...

“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...

Scandinavian Modern Tapio Wirkkala Crystal line cut sculptures Handblown ca 1955 Two turned mold-blown crystal Art-object with vertical cut lines. Th...

Opulent, elegant Barovier blown glass bling from the 1950s. Beautiful gold leaf is abundant in this piece with gold infused bubbles throughout its pulled form. Spectacular. Measures ...

Outstanding beautiful vase from the "Ventana" series of Mona Morales Schildt for Kosta Glasbruk, 50s, Sweden. Sommerso with a special cut and polish technique.Signed "Kosta SS 212 M....

Beautiful tall vintage Murano hand blown Sommerso green to golden orange Italian art glass Heron bird sculpture. Documented to designer Archimede Seguso circa 1950s, with acid signed...

Rare Angelo Barovier mixed media on board with glass highlights. Signed and dated 1959. Large and impressive one of a kind sculptural work by a major world renowned glass artist. Boa...

Made in Italy, 1950s. This is an emerald green corroso Murano glass vase. Literally “corroded” glass, i.e. an artificial stone-like finish achieved by exposing the glass to fluoridic...

Antique victorian style Spanish glass and silver lidded sugar pot with a swing handle and a pull off lid. Made by unknown manufacturer, Spain, e...

This elegant and graphic Mid-Century Modern vase was realized in Murano, Italy- the island off the coast of Venice renowned for centuries for its superlative glass production. It fea...

SIMON GATE for Orrefors. "Tusen fönster" / "Thousand windows" Art Deco vase in satin-cut clear art glass. 1950's. Measures: 23 x 12.5 cm. In ...

Beautiful small bowl in ruby red glass by Venini. Signed in acid 3 lines, several designers worked at the studio at same time in the 40-70" could be any, for sure made for Venini as ...

Seguso paperweight Murano glass 1950 Italy.

Beautiful freeform dish/Vide - Poche by Fontana Arte, with FX mark in bottom, shows light scratches near signature. Amazing green /blue color tone glass, very traditional for the ear...

Beautiful vintage 1950s green and gold glass decanter drinking set. Includes decanter with glass stopper and 5 shot glasses. No chips or b...

Vintage pitcher vase by Opaline di Florence. High contrast black red and white decor This is a rare color and size, a must have for any collector...

A very fine quality Art Nouveau Austrian or Bohemian opalescent art glass egg shaped vase with shaped and pinched flower shaped opening attributed to Kralik or possibly Loetz and dat...

Set of two antique Spanish glass containers dedicated to preserve food. One of them presents a cork cap. Made by unknown manufacturer in Spain, circ...

A stunning Bohemain Art Nouveau art glass vase with an iridescent marbled design and silver rim by Josef Rindskopf and dating from around 1904. The vas...

Vase in the form of a flacon: slightly bulged body, tapering towards the top, narrow opening, widening to the flared rim of the mouth. The area close to the floor is completely cover...

This is an original bottle without stopper, by the well known designer Fulvio Bianconi, has 3 acid marks and on top original foil label as shown in pictures.

Earl McCutcheon was a pioneer in the studio glass movement who spent 40 years at the University of Ga. In the 1950's he was among the most influential experimental glass makers in th...

A stunning round globe vase in glass designed by Edvin Ollers at Glimma Glass works in the 1950s. It is 18 cm in diameter and about 18 cm high. The vase is...

Murano Sommerso blown glass vase. Thick and heavy, beautiful blue and teal / green colors. Tiny flea bites along the bottom edge and scratches to the underside.

White and beautiful little glass vase designed by Hermann Bongard. Hadeland Glassverk, Norway, 1956. Clean and soft line vase. Lovely as a single pi...

A exquisite Murano vase in Sea Green. Possibly Barovier.

Small vase manufactured by Johann Loetz Witwe with Argus PG 2/351 decoration ca. 1902 Blue Bronze Yellow Austrian Jugendstil The “Argus” decoration is one of the most popular varian...

Bohemian glass footed jar, circa 1950s. This is a real collector’s piece that should not miss in the collection. This piece is in excellent condition. Looks simply stunning. Di...

A beautiful large antique Italian Murano glass pharmacy / apothecary canister with lid. Elaborately hand-painted and gilt on white Murano glass, featuring Star of David motif and gla...

Monumental Paolo Venini vase model 3556 for Venini in light grey Opalino glass. The second smaller vase measures Diameter 13 x H 38 cm. Both vases carry the Venini label and are Acid etched Venini Murano Italia...

Vase in the form of a flacon: drum-shaped body with a flattened, flush stand, attached slim, long neck, widening towards the rim of the mouth in the shape of a trumpet, colorless gla...

Here we have a very rare Carafe by the well known Murano Master Ermanno Toso. Made for the Fratelli Toso studio.

Beautiful pink Murano glass decorative statue made in the 1950s by a great Italian master glassmaker. The sculpture represents the figure of a very pretty turtle in a very beautiful light pink colour. The figure is stylised: in fact, we can distinguish the head, four legs, tail and shell, but the actual details cannot be distinguished, a very good sculpture. The shell is all pink...

Beautiful and rare, vintage Murano hand blown opalescent and silver flecks Italian art glass flower vase. Documented to designer Ercole Barovier, for the Barovier and Toso company, c...