Murano Glass

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...

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

Beautiful and cute Murano hand blown Sommerso honey yellow orange and green Italian art glass Dachshund puppy dog sculpture. Documented to designer Archimede Seguso, with worn "Archi...

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...

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

Universally regarded as one of the most prolific and capable designers of Murano glass vases and objects at large, Flavio Poli teamed up with some of the most influential and skilled...

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

"Rostrato" vases are a peculiar 1930s design by Ercole Barovier, then owner and designer of the eponymous brand Barovier & Toso, based on the island of Murano. The brand is still act...

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

Large Seguso Vetri d'Arte Murano Sommerso Glass Bowl, 1960s. A very large Murano sommerso art glass bowl. Designed by Flavio Poli or Mario ...

Murano Art glass bowl in red with gold, Seguso circa 1960s. A small murano sommerso glass bowl most probably manufactured by Seguso Vetri d'Arte circa 1960s. Manufactured in red gla...

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

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

Beautiful, large vintage Murano hand blown blue, controlled bubbles and gold flecks Italian art glass cookie jar / container. Documented to designer A...

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...

This is a great and rare find because is one of the small hourglass ever made by Venini. Also this piece was purchased from a collection of a very important Hollywood Star estate. Th...

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. .

A wonderful red and yellow hand blown Murano glass vase. Designed by Flavio Poli and manufactured by Seguso Vetri d'Arte. Italy, 1950s. Red glass with a layer of yellow glass cased into clear glass using the Sommerso technique. Amazing organic design and eye-catching colors. Lovely to be used as flower vase or decorative vase. To be exhibited alone or with other vases and bowls as a part of a larger Murano glass collection...

Stunning midcentury aquamarine and amber Murano Glass Bowl. This fantastic piece was designed in Italy during the 1960s and it is attributed to...

Art Deco Murano glass Italo, 1930s Excellent condition.  

Made by the Italian craftsmen of Empoli, Florence The carefully crafted details Vase provides a solid pitcher form suitable for a few tall flowers and...

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...

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...

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...

Vintage Art Glass Bowl with Gold Foil, Murano, Italy, 1950s A vintage Venetian art glass bowl most probably designed by Archimede Seguso for Vetreria Artistica Archimede Seguso in t...

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 ...

Vintage Murano Art glass vase 'Bolle' by Tapio Wirkkala for Venini A vintage art glass vase of the 'Bolle' series. Thin mouth blown stra...

A small and beautiful Italian Murano art glass ashtray or bowl in the style of Seguso, circa mid-20th century, Italy. Bowl has a controlled bu...

Pair of Murano crystal glass, amber and gold goblets glasses. Nason and Moretti designed these fantastic pieces in Murano, Venice, during the 1980s. This...

Found in Italy, this circa 1950s blue Murano glass vase has a flared body with contrasting decorative side fins and is attributed to Barovier. Base and sides are made of clear glass ...

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...

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...

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

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...

Midcentury Modern Murano Green and Amber Sommerso Art Glass Bowl 1960s A heavy Murano sommerso glass bowl manufactured by Vetreria Archimede Se...

Beautiful vintage Murano hand blown white roses and yellow orange flowers Italian art glass faceted window paperweight. Documented to the Fratelli Toso company, with rare "F.lli Toso...

Alfredo Barbini ribbed 'Corallo Oro' Vase, 1960s. A large Venetian art glass vase designed by Alfredo Barbini for Vetreria Alfredo Barbini ca. 1960s. Thick ribbed and twisted glass ...

Great Murano bowl acid signature, Venini Murano Italia" 3 line. This bowl was made in several finish and type of glass, bullicante, summerso, inciso, corroso, etc. Documented in Carlo Scarpa book...

A vintage Italian Murano orange art glass bowl in the Venini Seguso style, circa mid-20th century, Italy. Piece is a juicy orange hue with a controlled bu...

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...

Universally regarded as one of the most prolific and capable designers of Murano glass vases and objects at large, Flavio Poli teamed up with some of the most influential and skilled...

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...

Made by the Italian craftsmen of Empoli, Florence The carefully crafted Optical details The large, usable vase provides a solid form suitable for a few tall flowers...

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/...

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...

Made in Murano, Italy, 1960s. This is a free hand-blown glass vase, which features straw-colored, lattimo white and dark bordeaux shades. This shape was quite popular in the 60s, bu...

A substantial Italian Murano 'Sommerso' bowl in light blue, green and yellow art glass hues attributed to the Seguso atelier, circa mid-20th century, 1960s, Italy. Bowl is substantia...

Made in Italy, 1940s. This tiny bonbonniere is made in sommerso Murano glass, with gold flakes and few bubbles due to the process of glass blowing. It is a vintage piece, but it can ...

Very nice vase in blown glass of Murano from the 60s. Excellent craftsmanship with a beautiful shade of red light that enhances the simple and clean design of the vase drop. Very nic...

Vintage Murano Art Glass Flacon by Barovier & Toso (attr.) circa 1950 A beautiful Murano glass flacon most probably manufactured by Barovier & Toso, Italy circa 1950s. Heavy hot mou...

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...

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!  ...

Venini Art glass vase 'Bolle ' by Tapio Wirkkala for Venini, Murano 1966 A vintage art glass vase of the 'Bolle' series. Thin mouthblown straw and applegreen glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in 1981. Venini model number 503.02. Signed with incised signature 'venini italia tw 81' on the base. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...

“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...

Made in Italy, 1960s - 1970s. These two sculptures are made in amber sommerso Murano glass and are quite heavy. These two glasses are even more beautiful and suggestive in person. T...

Murano corroded glass bottle cobalt blue midcentury Italian Design.