Murano Glass

Incredible vase in Murano glass with gold and cornucopia applied by Archimede Seguso circa 1950.

Sculptural Sommerso block vase in blue and clear glass by Bretislav Novak, Czech Republic, 1950s. Vibrant blue glass submerged into crear lass using the Sommerso technique. Faceted...

Pair of freeform Murano colored ashtrays or bowls from 1960's, Italy. Multicolored Murano art glass with silver flecks inclusions.

Made in Italy, 1970s. This trinket bowl / vide-poche is designed by Alfredo Barbini and it is made in light blue and transparent Murano glass with lines obtained from a mold and then...

Sculptural Murano Jug Shaped Vase in Shades of Pink and Amber glass. Designed by Flavio Poli and manufactured by Seguso Vetri d'Arte. Italy, 1950s. Large s...

Murano Glass Vase

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

Large handcrafted Murano glass goblet, Italy, 1980s. Belonged to my grandparents, purchased and always displayed without being used. Intact, very small signs of ageing. We guarantee...

A wonderful glass paper weight in the style of Murano. The swirl of white glass details gives the piece a place in any home, from traditional to modern. A compliment to any desk, ...

Unique blue and white stripes Murano vase or centrepiece. During this period, Italian glassmakers were at the forefront of the modernist movement in glass design, creating pieces t...

A fine vintage Italian glass finger bowl or handleless cup & saucer. Attributed to Salviati. Comprised of Mezza filigrana canes with white, yellow, and aventurine threads. S...

Made in Italy, 1970s. It is made in black and white encased Murano glass. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in excellen...

Great sample of the Master blower. Gino Cenedese Murano glass work of art vase . This is a superb work in scale glass also in the style of an other master blower Napoleone Martinuzzi.

This original vintage glass ash tray bowl element was designed and produced in the 1970s in Lombardia, Italy. It is made in Sommerso Technique a...

Opaline di Florence (Empoli) opalescent Italian art glass vase the late 1950s or early 1960s.  Beautiful hand-blown opal and hand-applied white foot Measures: 38 cm tall, diamete...

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

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...

A rare find. This is from the personal collection of Amelio Cenedese. I had the privilege to access and become the owner of this large collection of Cenedese single pieces and grouped them in eclectic sets...

Incredible big Murano vase by Barovier&Toso with gold cordone serie circa 1948.

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

A rare pendant light designed by Tea Morosati and manufactured by Stilnovo in the early 1960s. This particular Stilnovo lighting fixture has a very elegant brass structure with a di...

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...

Made in Italy, 1970s. This lemon is made in black Murano glass with silver and gold flakes and then covered in transparent Murano glass. It might show slight traces of use since it's...

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...

Stunning colored Murano glass fruit bowl in a beautiful shape.

A great find. This is from the personal collection of Amelio Cenedese. I had the privilege to access to this large collection of Cenedese single pieces and grouped them in eclectic sets...

Cenedese Set of 5 flutes. Made by Maestri Muranesi, the company own by Amelio Cenedese working in the neverland of Murano. It's the island of Serenella, made of the disposal of glass...

Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano 1950s A rare Fazzoletto (handkerchief) vase in transparent glass with whit...

Tall Mid-Century Modern Italian blown Murano Bud Vase in baby blue swirl design attributed to Vetro Artistico. The Vessel has a very long neck and a ...

“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...

Pink and gold flecked Murano glass fruits with matching bowl by Alfredo Barbini (Italian, 1912 - 2007).  

Experience the beauty of Murano glass with Pulegoso vases. These unique line of vases were created in the '40s using heavy, opaque white glass and moulds to create a distinctive wave...

Heavy Seguso Vetri d'Arte (attr.) Sommerso Murano Art Glass Bowl A triangular shaped vintage Murano art glass bowl. Most probably manufactured by Seguso Vetri d'Arte circa 1950s. Am...

Fantastic vase from the Murano glassworks, both for its special processing and for its color, in fact the vase is blue color but has an internal transparent coating, called "incamici...

Large Antique Millefiori Vase with Handles, Fratelli Toso Murano, 1910 A large and rare millefiori murrine glass vase manufactured by Vetreria Frat...

Made in Italy, 1970s. It is made in white heat soaked Murano glass. Since the manufacturing process of these vases was manual, each vase is different and one-of-a-kind. It is a vinta...

Vintage glass in very good condition. The vase looks like it has just been taken out of the box. No jags, defects etc. Only one unique piece. Murano glass. Medium size 7x25cm. .

This is a rare and extremely fascinating two-body vase in Murano glass. Designed by Ermanno Nason for I.V.R. Mazzega in the 1980s, it is a perfect expression...

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

Vintage midcentury huge, large, heavy and thick light ocean blue coloured Italian glass bowl attributed to Antonio da Ros for Cenedese, Murano, Italy circa 1960. The style, form and ...

Introducing the MURRINA GRANDE, a vintage collectible Fratelli Toso piece that's sure to impress any discerning collector. Part of a limited edition serie designed in 1960 by Ermanno...

Made in Italy by Vittorio Zecchin, 1970s. These six wine glasses are made in slight ribbed Murano glass. They are vintage, therefore they might show slight traces of use, but they c...

Massive Sommerso vase with faceted glass in Green and yellow glass cased into clear glass. Attributed to Mandruzzato, Italy, 1960s. Green glass with a layer of yellow glass cased in...

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...

A vintage sculptural art glass vase probably made by Barovier & Toso of the "Aborigeni" series, made in the 1960s. The vase's sculptural form and vibrant colors would make it an i...

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...

Pair of large black Murano vases by Barovier e Toso. Italy, 1970s. Both are signed and have the original labels on them. Hard to find as a pair.

Vintage Murano glass vase with ornamental work, very elegant and light. No ordinary Murano vase. Signed Burber.

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Valu...

Discover the stunning beauty of CHELE, a vintage crystal design by Renato Toso for Fratelli Toso, one of the most important glass factories in Murano, founded in 1854. Renato Toso, g...

A beautiful set of 2 Murano glass candlesticks and a bowl. The glass has beautiful gold colored inclusions, the stems are decorated with delicate flowers. Dimensions: the candles...

Beautiful and large, vintage Murano hand blown Sommerso pink and blue Italian art glass bird figurine / sculpture. Documented to the Seguso Vetri d'Arte company, circa 1950s. The bir...

Beautiful vase made from Murano glass in perfect condition. The vase looks like it has just been taken out of the box. No jags, defects etc. Only one unique piece. The small tulip vase is stunning in its simplicity and both a beautiful and functional piece of design. Originally designed for short stemmed Tulip bouquets, this small vase works as well with any other flower compositions or as a decorative piece. Here at Jerpoint, we individually hand make each vase at our Glass-blowing Studio in Co. Kilkenny, using skills and methods that have hardly changed for thousands of years. With their breath, a few simple tools and decades of craftsmanship the Glass makers turn molten glass into the colourful...

Opaline Florence opalescent Purple and white Italian art glass vase with a translucent base and swirls Measures: 33 cm x 17.5 cm The piece is in excellent condition and a real b...

Beautiful vintage Murano hand blown Sommerso cobalt blue to clear Italian art glass owl bird figure, sculpture. Documented to the Salviati Company. Have owned several with labels and...

This original vintage glass ash tray bowl element was designed and produced in the 1970s in Lombardia, Italy. It is made in Sommerso Technique...

Many are the different types of glass created by master makers on the Venetian island of Murano. From air-thin vases to expressive sculptures, also massive objects with deep and vivi...

For sale a Mid-Century Sommerso blue & green Murano dimpled Geode vide poche/catch-all Bowl by Galliano Ferro, Italy circa 1960s. This gorgeous bowl is in good vintage condition, ...