Murano Glass

Dino Martens for Aureliano Toso Venice, 1940s Murano Glass Vase Perfect condiction.

Made by the Italian craftsmen of Empoli, Florence The carefully crafted details add flowing organic motifs and act as a handle to ensure they can be safely carried. The large, usable vase provides a solid pitcher form suitable for a few tall flowers...

Beautiful vintage Murano hand blown opalescent, light purple / lavender and controlled bubbles Italian art glass flower vase. Documented to the Fratelli Toso company. The outside col...

Large Art Glass Vase 'Yokohama' by Aldo Nason Murano An asymetrical shaped Art Glass Vase 'Yokohama' by Aldo Nason, Murano end of the 1960s. Thick h...

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...

Beautiful vintage Murano hand blown pink stripes and gold flecks Italian art glass double opening flower vase. Documented to designer Ercole Barovier, for Barovier e Toso. The vase h...

Beautiful vintage Murano hand blown opalescent white, controlled bubbles and gold flecks Italian art glass flower vase. Documented to designer Ercole Barovier, for the Barovier e Tos...

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...

Made in Murano, Italy, 1960s. This is a Murano glass multi-colored vase, that is highly ascribable to Fratelli Toso's millefiori. It has a multitude of different murrines, in a rain...

A very beautiful sky-blue opaline Italian Murano art glass vase in the style of Seguso, circa mid-20th century, 1960s, Italy. Vase is a sky blue opaline hue with a twisted fluted des...

Magnificent Murano charger by the well known master blower Anzolo Fuga , This is a great 2 spirals design . Similar sample sold in 2014 auction in Franc...

Stunning round colorful (colorful) mouth blown Murano art glass bowl or vase attributed to Flavio Poli for Seguso, circa 1950-1965. Absolutely exceptional in every way utilizing the ...

A very beautiful set of six (6) vintage Italian Murano barware art glass cocktail stirrers, Mid-Century Modern period, mid-20th century, Italy. Set is hand-crafted in transparent/cle...

Alfredo Barbini acid-etched Murano Corroso bowl. A very rare piece in nice collectors condition. The glass looks simply stunning.        ...

Circa 1980s Murano glass fish is over 14” tall. Glass is streaked with amber and blue tones and has applied lilac glass tail, mouth and eyes. Unknown Murano maker. No flaws or repair...

A large Fazzoletto (handkerchief) vase in transparent glass with white rod decorations called "Zanfirico Lattimo". Manufactured ca. 1950s by Venini, Venice after a design of Fulvio B...

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

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

Gorgeous and rare pair of wall sconces handcrafted from Murano Glass Master Fulvio Bianconi for Venini during the 1950s. Both wall lights are made of pink and white swirled Murano ar...

Beautiful vintage Murano hand blown red, white and gold flecks Italian art glass pulled feather rose bowl flower vase. It has heavy gold leaf on the open red sections. Created in an ...

A beautiful authentic Italian Venetian Murano art glass handkerchief vase, in the Modern style, circa early-20th century, 1940s, Ital...

Beautiful vintage Murano hand blown Sommerso red orange, yellow and clear Italian art glass powder / jewelry box. Documented to designer Alfredo Barbini, circa 1950s. It is published...

Beautiful large vintage Murano hand blown Sommerso aqua blue over orange Italian art glass perfume bottle. Documented to master glass artist and designer Alfredo Barbini. Published i...

Barovier & Toso Murano Clear and light blue Rostrato glass vase, Italy, 1950s Vintage / mid-century / Art Deco Blue Murano art glass vase made wit...

Vintage Murano Sommerso Art Glass Cornucopia by Archimede Seguso. A vintage Murano sommerso glass cornucopia with applied feet. Manufactured by Vetre...

1960s gorgeous green ashtray or catch-all By Flavio Poli for Seguso in Murano Sommerso Glass. Made in Italy It seems a diamond The item is in very good condition, no chips. Dimension...

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...

Archimede Seguso "Alabastro" Art glass bowl, Murano Italy ca. 1958. A Venetian art glass bowl in oval shape designed by Archimede Seguso for Vetreria Artistica Archimede Seguso ca. ...

Charming and beautiful colored Murano glass vase for one flower.

A green, white and black murano glass figure of a Chinese man manufactured in the Eighties in Venice and attributed to Seguso, it's labeled on the bottom with a label of the shop who...

A substantial Italian Murano transparent/clear and pink art glass bowl or ashtray, circa mid-20th century, Italy. Bowl has a pedestal design, soft corne...

Beautiful vintage Murano hand blown Sommerso bright orange and yellow Italian art glass oval flower vase. Attributed to designer Antonio da Ros for the Cenedese company. Similar to S...

Amazing and heavy blue bowl in sommerso , uranium glass attr to Seguso in leaf shape .

A very beautiful and rare set of four (4) vintage hand crafted Italian Murano barware art glass cocktail stirrers, circa Mid-20th Century, Italy. Set is both transparent / clear and ...

Highly decorative mid century Murano Glass Vase from the renown workshops in Italy around 1960/70. A fantastic shaped, mid-sized vase with twisted body combined with a lovely coloration from pink tones down to a bright green on the base. An exceptional designed Murano masterpiece...

Large 18cm wide Murano glass bowl, dish or ashtray 'signed' by Cenedese. Wonderful translucent glass over bright orange with the textured look and feel of acid-etched / sandblasted f...

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

scultura vetro di murano raffigurazione femminile - attr. SEGUSO - anni 60 - 60s - murano - vintage scultura vetro di murano raffigurazione femminile - attr. SEGUSO - anni 60 - 60s - murano - vintage scultura raffigurazione femminile vetro di murano sommerso attribuibile a manifattura italiana...

Midcentury Murano sommerso art glass vase by C.O.V.E.M, 1960s A heavy Murano Sommerso art glass vase manufactured by C.O.V.E.M. (Cooperativa Vetrai Muranesi) circa 1960s. Probably a design of Flavio Poli who worked with C.O.V.E.M. in the 1950s and 1960s. Manufactured in thick clear Sommerso glass...

Archimede Seguso Geode bowl in green and blue, Murano Italy ca. 1950s A heavy Venetian art glass bowl in the shape of a geode designed by Archi...

"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...

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...

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...

“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...

Circa 1980s scavo style Murano glass ball vase in cobalt blue by Vecchia. Accented with flared lip and applied medallions. Original manufacturer...

Aureliano Toso (attr.) Murano Art Glass Bowl circa 1950s A Murano glass bowl most probably manufactured by Vetreria Aureliano Toso and designed by Dino Martens circa 1950s. Dark blu...

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.

Mid-Century Modern Murano Sommerso Art glass bowl 1960s A large and heavy Murano Sommerso glass bowl most probably manufactured by Seguso Vetri d'Arte circa 1960s. Manufactured in r...

Immerse yourself in the timeless elegance of mid-century Italian craftsmanship with our stunning Murano sommerso glass vase from the 1960s, likely designed by the renowned Flavio Poli in collaboration with C.O.V.E.M. (Cooperativa Vetrai Muranesi). This substantial piece, in flawless condition, exudes a palpable sense of luxury and sophistication. Crafted from thick, clear sommerso glass...

Beautiful Venini vase in this canes twisted work, zanfirico technic that makes lattice patterns . This vase has a neck shape and is signed in bottom diamond point "Venini Italia" .

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...

Colorful mid century red/ orange Murano glass vase out of the renown glass art workshops of Sommerso on the little island of Murano/ Italy. Artfully made around 1960/70 this fantasti...

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...

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...

Cute vintage handblown dark green with controlled bubbles, Italian art glass bunny rabbit sculpture / figure. It does not have a label, bu...

Made in Italy, 1950s. Made in Murano glass. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in excellent original condition and ready...

Beautiful vintage Murano hand blown Sommerso rich orange and glowing yellow Italian art glass flower vase. Documented to designer Antonio da R...

Art Glass Dove by Aldo Nason Murano ca. 1968 A rare Murano art glass dove designed and manufactured by Aldo Nason in the late 1960s. Dark handblown glass with colorful zanfirico and gold leave inclusions covered with a clear glass overlay. The dove is similar to the famous Yokohama glasses which Nason produced in his own workshop after he left A.V.E.M. in 1967. The Yokohama vases...