Mid-Century Modern Glass

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

Large Flavio Poli Seguso Vetri D’Arte Attributed Sommerso Art Glass Murano vase. Retains its original Paul’s distributor label. Very sleek and elegant design.

Large Murano Art Glass Vase in green Pulegoso glass with ribbed design scalloped Top. The vase is very tall for the era and stands alone.

A 1950s six-piece set of etched crystal balloon glasses by Atlantis. Perfectly proportioned crystal stemware featuring exactingly hand-etched vertical...

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...

Large Dino Martens Aureliano Toso Attributed Murano Art Glass Latticino Vase In vibrant multi color individual canes. Very well executed Murano art glas...

Elegant Venetian Squared Glass Bowl with ribbons of white and aubergine latticino work. Remnants of paper label circa 1950's, Murano Italy.

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...

Elegant vintage Libbey barware frosted glasses with leaves pattern in a gold finish. Set includes eight highball glasses. Mid-Century Modern v...

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 small vase with opaque black and white striping, by Barovier.

This thick chunky vintage Murano hand blown glass bowl is by the noted Barovier e Toso Dual of master glass blowers and artists. It is triple cased with tons of gold aventurine and b...

Timo Sarpaneva, Two Crystal Art-Objects "Heart", Model 3557, Iittala, Finland 1957 Two sizes, clear lead-crystal glass, cut and surface polished Art-objects / sculptures "Sydän" (He...

Murano art glass apple and pear Sommerso blue and purple designed by Alfredo Barbini. Both have two flat surfaces for display or can be used as bookend...

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

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

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,...

Alfredo Barbini Murano glass sea shell sculpture in vibrant green art glass. Another amazing and large shell sculpture to complete your collecti...

Grand Piano Sculpture in Murano Art Glass attributed to Ercole Barovier design Circa 1950’s. Amazing piano sculpture with sculpted legs, pasta glass ke...

Ercole Barovier Barovier and Toso Murano Cordonato D’Oro Vase, circa 1950s In reddish pink with gold highlights.

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...

Dino Martens for Aureliano Toso attributed Murano complicated cane patchwork bowl. Spectacular Workmanship and amazing design.

Alfredo Barbini Murano glass shell sculpture in Bollicine glass with gold Highlights. Vibrant pink color.

1950s Retro style cocktail shaker. Metal lid with attached spoon. Glass design features various retro cocktail receipies.

Mid-Century Modern Murano vase, thick-walled glass with embedded flower decorations. It is a single flower vase, beautiful from every point of view.

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...

“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...

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. ...

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...

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...

1950s set of three blue opaline glass items. Made in Italy The bright blue milk, opaline or cased glass is heavy and thick, all items have a decorative orm...

Clear & colored blown glass. Great scale with internal bubbles and vibrant color stripes. Signed on underside by maker.

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

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/...

"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 ...

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

Italian glass 'Scavo' bowl by Alfredo Barbini, Murano (circa 1970s). Scavo glass indicates that the glass went through a specific glass finishing technique. A special corrosive chemi...

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

Empoli yellow glass decanter, Italy. Gorgeous and vibrant transparent lemon yellow blown glass decanter or bottle with matching stopper. Rare col...

Murano corroded glass bottle cobalt blue midcentury Italian Design.

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....

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.   

Vibrant set of cobalt blue glasses, designed by Carlo Moretti for Empoli, Italy, circa 1950s. The set consists of 22 glasses, 12 larger glasses measuring 5....

Flysfors style Art Glass bowl with swirled color in cased crystal.

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...

Antique vintage glasses. Made by unknown manufacturer in Spain, circa 1950. In original condition, with minor wear consistent with age and use,...

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.

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...

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...

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...

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.

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

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...

Fulvio Bianconi "Pezzato" Glass Vase, 1951 Venini Murano green blue red vase Marked: Venini H : 28 cm (11") Overall Very good condition The "Pezzato" (Patchwork) series took Bianco...

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...

Majestic Blenko "Genie Bottle" in Tangerine, circa 1960 and was designed by Wayne Husted. This iconic design was produced in small, medium, and large sizes. This is the largest size,...

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...

Sea foam green 5815L Genie bottle decanter designed in 1958 by Wayne Husted for Blenko. Decanter measures 25" by 8.5" and is signed with the acid...