1950s Glass

Kaj Franck, A blue and clear artglass object "Lancet", Model KF219, Nuutajärvi-Notsjö, Finland 1957 A free blown and cut and polished blue and clear cased artglass object “Lansetti”...

Made in Czechoslovakia Made of Crystal Glass,Cut Glass Decorated with Gold Hand Made There is a small chip in the upper corner (see photo) Re-polished Original Condition

An Archimede Seguso tortoise figurine in "Pink Alabastro" Murano art glass. A lovely sculpture and a beautiful and unique piece of art. Archimede Se...

White "filigrana" murano glass bowl. Venini, 1950s Perfect condiction.

Set of Tablewares Glasses Tumblers "Saint Hubert" made in clear crystal by Marc Lalique in the 1950s. All tumblers are signed. Perfect condition. 36-piece set including: - 12 tumbl...

Here is a wonderful Venetian bird sculpture, made on the island of Murano, near Venice, Italy. Made by Seguso Vetri d'Arte, and designed by either Flavio Poli or Mario Pinzoni in the...

Beautiful 20th century French Lalique clear and frosted crystal Nina Ricci apple perfume bottle. This wonderful perfume bottle has a frosted apple shaped body with clear leaf decora...

Made in Italy, 1950s. This white l'attimo Murano glass vase features playing card suits colored glass inserts (diamonds, clubs, hearts and spades). It is a vintage piece, therefore ...

Here is a wonderful large 1950/60's Venetian glass vase, made on the island of Murano, near Venice, Italy. This piece was made by Barovier & Toso, part of the Cordonato d'Oro range. Very similar pieces can be seen in the book 'Italian Glass' by Leslie Pina, pages 31...

Here is a wonderful large 1950/60's Venetian glass vase, made on the island of Murano, near Venice, Italy. This piece was made by Barovier & Toso, part of the Cordonato d'Oro range. Very similar pieces can be seen in the book 'Italian Glass' by Leslie Pina, pages 31...

Scandinavian Modern Timo Sarpaneva Glass Bowls Pantareuna Green Purple 1950s Two turned-mould blown, flared and rim folded colored glass “Pantareuna” bowls, model i-302. Designed by...

Lalique Floride Turquoise Crystal Set of 6 Whiskey Tumblers and Assiette French crystal art glass barware highball whiskey tumblers. Each features r...

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...

Scandinavian Modern Timo Sarpaneva Crystal Art Object Sculpture Orchid 1957 Clear lead crystal glass, steam blown interior, cut and surface pol...

A beautiful art glass object called the Moon Walk designed by the renowned Helena Tynell. Helena was the wife of the world famous Paavo Tynell and also a genious designer with a main...

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...

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...

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...

Art glass vases produced by orrefors , and designed by famous Nils Landberg. Wonderful glass with exceptional color that collaborates with the clear glass. These two are a great loo...

"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...

In a good condition beautiful Art Deco carafe with blue and white dots. The carafe is probably from Belgium or France.

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

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. ...

Very beautiful set of glasses and decanter in Lorraine crystal dating from the 1950s, consisting of: - 6 wine glasses - 6 water glasses - 6 flutes ...

A stunning vintage midcentury Thomas Webb hand blown amber art glass bowl with a 'bulls eye' or knobbly design dating from around 1950. The bowl i...

“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...

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,...

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

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,...

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...

A fine and stylish vintage midcentury Italian, Murano cased glass bird with a speckled colour and aventrine pattern. The bird stands on a shaped narrow rounded clear glass base perch and has a long slender neck with a yellow glass crop and beak with a wider shaped cranberry colored body cased in clear glass. This stylish piece has an old Vetro Artistico Veneziano paper label attached to the body. Provenance: Acquired in the UK art...

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...

Set of three antique Spanish glass containers dedicated to preserve food. All of them presenting a cork cap. Made by unknown manufacturer in Spain, ...

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...

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

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!  ...

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/...

Whisky Set by Val Saint Lambert Decanter + 6 glasses Belgium, with Serving Tray Glass Factory Val Saint Lambert, Belgium. Set with a decant...

Svend Palmqvist (1906-1984) for Orrefors, "Kraka" art glass bowl in checkered blue pattern. Approx. 1950s. In perfect condition. Dimensions: L 16 x H 6.5 cm.

"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 ...

This is a large, massive duck sculpture from the 1950s made in the Sommerso and mezza filigrana technique. It is a decorative piece and was likely designed by Dino Martens for Fratel...

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...

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

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

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...

Murano corroded glass bottle cobalt blue midcentury Italian Design.

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...

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....

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...

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

Superb Lalique Fontainebleau service composed of 41 pieces in sets of 8 and one carafe. This service has champagne coupes, water, red, white wine...

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.

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.

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 ...

“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...

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...

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...