Glass
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GL-26
Glass Bottle Vase by Dino Martens
Italian blown glass bottle shaped vase by Dino Martens. Italy
- height
- 18 in. (46 cm)
- diameter
- 5.5 in. (14 cm)
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GL-27
Per Lutken Glass Bowl for Holmegaard
Grey shaded drop tear glass vase by Per Lutken for Holmegaard Denmark.
- height
- 6.5 in. (17 cm)
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GL-28
Striking Mid-Century Scandinavian Glass Vase
Interesting Scandinavian smoked cut glass vase. Signed "Homberg." Denmark.
- width
- 3 in. (8 cm)
- height
- 8.25 in. (21 cm)
- depth
- 3 in. (8 cm)
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GL-29
Art Deco Etched Glass Vase
Beautiful Art Deco period etched glass vase. Circa 1930.
- height
- 11.5
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GL-30
Green Glass Vase
Green glass vase
- height
- 6¾
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GL-31
sold
Green Bulicante Glass Vase by Barovier e Toso
Green bulicante glass vase by Barovier e Toso Italy:circa 1960
- width
- 7.5 in.
- height
- H:5 in.
- depth
- 7
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GL-32
Blue and Green Glass Vase by Vicke Lindstrand for Kosta Boda
blue and green glass vase by Vicke Lindstrand for Kosta Boda Etched signature and number to underside of each example ‘Kosta 41592 V. Lindstrand’. Sweden: circa 1959 Lindstrand, who had begun his career as an illustrator before moving into glass, was first employed by Orrefors where he helped develop many techniques, including the Ariel whereby air bubbles are encased in coloured glass. Orrefors could not afford to keep Lindstrand on during the war and after a decade at the famous glassworks, he moved to ceramics at Uppsala-Ekeby. Rumour had it that his previous contract with Orrefors stated he wasn’t allowed to work in the glass industry for ten years after leaving. Years later after his supposed exile from the glass industry, Lindstrand re-entered glass society and joined Kosta, where he created works of a similar style to those at Orrefors but with a greater sense of artistic freedom and vibrant colour pallet. He would work as Artistic Director for 23 years up until his retirement in 1973.
- width
- 4.75
- height
- 7.25
- depth
- 2.5
- condition
- Good overall condition
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GL-33
Rare set of 17 Stained Glass works of art by Max Ingrand
Suite of 17 stained glass panels representing symbolic images of the old and new testament, by Max Ingrand . Two panels are signed "Max Ingrand France ". Canada: circa 1950 These rare pieces of early work by Max Ingrand are amongst a few that where commissioned by the Catholique Church of Quebec in the 1950's, they remained un-installed until they where purchased by the church of Mont Laurier in Quebec, Canada in 1965 after it was rebuilt following a fire. The company Willis and Co. Ltd was the exclusive distributor for the Catholique church of Quebec for stained glass by Max Ingrand. Provenance: Church Cœur-Immaculé-de-Marie, Mont-Laurier, Québec
- width
- 13.25 in.
- height
- 14.5 in.
- condition
- Very good condition, some small cracks to a few glass pieces, recently fitted in wood frames for display.
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GL-34
Vintage Blue White and Green Murano Glass Bowl
Blue white and green Murano glass bowl. Italy: circa 1960
- height
- 5 in. (12.7 cm)
- diameter
- 6 in. (15.24 cm)
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GL-35
Pair of 19th Century Bohemian Glass Etched Decanters
Pair of 19th century bohemian glass unmatched colours etched decanters. Czech Republic.
- width
- 5 in. (12.7 cm)
- height
- 9.5 in. (24.13 cm)
- depth
- 3 in. (7.62 cm)
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GL-36
Suite of Two Murano Amber with Gold Flecks Glass Urns by Stefano Toso
Suite of two Murano Amber with gold flecks glass urns by Stefano Toso Signed etched:"Stefano Toso Murano" The price is $3450 for each. Italy.
- width
- 12 in. (30.48 cm)
- height
- 21 in. (53.34 cm)
- depth
- 9 in. (22.86 cm)
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GL-37
Tall Blue and Green Stripe Ceramic Studio Vase
Tall Blue and Green Stripe Ceramic Studio Vase. United States: circa 1970
- height
- 20.5 in (52.07 cm)
- diameter
- 5 in (12.7 cm)
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GL-38
Blue and Clear Murano "Sommerso" Glass Decanter by Mario Pinzoni for Seguso
Blue and clear murano "Sommerso" Glass Decanter by Mario Pinzoni for Seguso Signed: "Seguso Murano Italy: circa 1960 Provenance: Private collection Boston Mass.
- height
- 15.5 in.
- condition
- Very good condition. Provenance:Private collection Boston Mass.
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GL-39
newTurquoise Studio Glass with Various of Inclusions of Specks
Turquoise studio glass with various of inclusions of specks. Canada: circa 1960
- width
- 5
- height
- 9
- depth
- 4.25
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GL-40
Blue and Green Murano Filigrana Bowl
Blue and green Murano filigrana glass bowl . Italy c.1960
- width
- 9 in. (22.86 cm)
- height
- 1.5 in. (3.81 cm)
- depth
- 7.75 in. (19.69 cm)
- condition
- Very good condition.
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GL-41
Murano Blue Glass “Sommerso” Vase by Fabio Tosi for Cenedese
Murano blue glass “sommerso” vase by Fabio Tosi for Cenedese. Signed etched: Murano 1970 Cenedese Tosi. Italy: 1970 Provenance: Private collection Montreal
- width
- 5 in.
- height
- 12 in.
- depth
- 4 in.
- condition
- Very good condition, no chips or cracks , some scattered scratches barely visible.
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GL-42
Blue and Green Mdina Tall Glass Bottle Form Vase by Michael Harris
Blue and green Mdina tall glass bottle form vase by Michael Harris Signed: “Mdina” Malta: circa 1970
- height
- 16.75 in.
- diameter
- 3 in.
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GL-43
Large Black and Smoked Glass Vase by Per Lutken for Holmegaard
Important black and smoked glass vase by Per Lutken for Holmegaard retaining it's original makers label, the underside etched signature Holmegaard 1732 P61 Denmark : circa 1961 Lütken worked for 56 years with Holmegaard Glass Factory, creating over 3000 glassworks and earning the title of 'master of Danish Glass Design'. His vases, dishes and glasses are harmoniously simple in form and colour. Lütken has been a member of the Triennale di Milano since 1951. His work was included in the 1954—57 USA 'Design in Scandinavia’ travelling exhibition, 1956—59 Germany ‘Neue Form aus Danemark’ travelling exhibition, 1958 ‘Formes Scandinaves’ exhibition at the Paris Musée des Arts Décoratifs, 1960—61 USA ‘The Arts of Denmark’ travelling exhibition, 1962 ‘Creative Craft in Denmark Today’ in New York, 1980 ‘Scandinavian Modern Design 1880—1980 exhibition at the Cooper-Hewitt Museum, New York, and 1983—84′ Design Since 1945’ exhibition at the Philadelphia Museum of Art
- height
- 16.75
- condition
- Good overall condition
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GL-44
Green and Purple Stemed Bowl by Luciano Gaspari for Salviati
Green and Purple Glass Stemed Bowl by Luciano Gaspari for Salviati the stem bearing an etched signature on the underside: "Salviati Venezia" Italy : circa 1960 1913. Born in Venice on March 22 in a family of decorators. 1931. After attending the Institute of Art, he made his debut at the collective exhibition of the Opera Bevilacqua La Masa. 1932. He receives the prize for the younger painter at the XVII Venice Biennale. 1933. Student of Virgilio Guidi at the Academy of Fine Arts. 1935. He follows Guidi in Bologna. Here he attends the course of engraving techniques held by Giorgio Morandi, with whom he will remain in correspondence for a long time. 1936. Participates in the Rome Quadriennale and the Venice Biennale. 1937. After completing his studies in Bologna, he returns to Venice. 1938. Participates in the Venice Biennale. 1940. Participates in the Venice Biennale; becomes assistant to Giuseppe Cesetti, professor of figure at the Academy of Fine Arts in Venice, who takes over holding the chair until 1983. 1943. marries the painter Bruna Gasparini. He held his first private exhibition at the Galleria del Milione in Milan with Armando Pizzinato. 1944. He exhibits thirteen works in a solo show in Venice, at the Galleria del Cavallino by Carlo Cardazzo, a reference point for Venetian Spatialism, whose - although not adhering to the movement - is close to his inspiration. 1947. Participates in the Rome Quadrennial. He began working as a designer with the Salviati Murano glassworks. 1948. Participates in the 24th Biennale with three paintings: Dormiente, purchased by the Gallery of Modern Art of Ca ’Pesaro, Figure and Composition. Take part in the Palazzo Re Enzo in Bologna at the first national contemporary art exhibition promoted by the Alliance for the Defense of Culture, (over forty appearances, including, in addition to him, Afro, Cagli, Consagra, Guttuso, Leoncillo, Mafai, Turcato, ...), who claims the necessity of artistic confrontation with avant-garde European experiences.
- height
- 7.75 in.
- diameter
- 8.5 in.
- condition
- Good overall condition
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GL-45
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini. Signed on the underside of the base: Bianconi Venini. Italy: circa 1950 Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 15.75 in.
- condition
- Good overall condition
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GL-46
Rare Polychrome Murano Glass "Pezzato" Vase by Fulvio Bianconi for Venini
Rare polychrome Murano glass "Pezzato" vase by Fulvio Bianconi for Venini, signed on the underside of the base: "Bianconi Venini" Italy: circa 1950. Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 11.75
- condition
- Good overall condition
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GL-47
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati with spiral threads. Italy: circa 1960 Luciano Gaspari, born in Venice on March 22 1913 in a family of decorators. After attending the Institute of Art in 1931, he made his debut at the collective exhibition of the Opera Bevilacqua La Masa. 1932. He receives the prize for the younger painter at the XVII Venice Biennale. 1933. Student of Virgilio Guidi at the Academy of Fine Arts. 1935. He follows Guidi in Bologna. Here he attends the course of engraving techniques held by Giorgio Morandi, with whom he will remain in correspondence for a long time. 1936. Participates in the Rome Quadriennale and the Venice Biennale. 1937. After completing his studies in Bologna, he returns to Venice. 1938. Participates in the Venice Biennale. 1940. Participates in the Venice Biennale; becomes assistant to Giuseppe Cesetti, professor of figure at the Academy of Fine Arts in Venice, who takes over holding the chair until 1983. 1943. marries the painter Bruna Gasparini. He held his first private exhibition at the Galleria del Milione in Milan with Armando Pizzinato. 1944. He exhibits thirteen works in a solo show in Venice, at the Galleria del Cavallino by Carlo Cardazzo, a reference point for Venetian Spatialism, whose - although not adhering to the movement - is close to his inspiration. 1947. Participates in the Rome Quadrennial. He began working as a designer with the Salviati Murano glassworks. 1948. Participates in the 24th Biennale with three paintings: Dormiente, purchased by the Gallery of Modern Art of Ca ’Pesaro, Figure and Composition. Take part in the Palazzo Re Enzo in Bologna at the first national contemporary art exhibition promoted by the Alliance for the Defense of Culture, (over forty appearances, including, in addition to him, Afro, Cagli, Consagra, Guttuso, Leoncillo, Mafai, Turcato, ...), who claims the necessity of artistic confrontation with avant-garde European experiences.
- width
- 11 in.
- height
- 11 in.
- depth
- 5 in.
- condition
- Good, scattered light scratches
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GL-48
Set of Four Elegant French Silver Open Salt Cellars
Set of Four Elegant French Silver Open Salt Cellars France: circa 1800
- width
- 4 in (10.16 cm)
- height
- 3.75 in (9.53 cm)
- depth
- 2 in (5.08 cm)
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GL-51
Italian Art Deco Glass and Enamel Vase by Guido Balsamo Stella
A clear Murano glass "Garden" vase, blown glass and hand decorated in black and red enamel with floral design resting on a circular applied base in opaque dark glass. Signed to base "9781 617 (i) Italy: circa 1930. Literature for similar piece Franco Deboni, Murano '900, Bocca publishers, Milan 1996 p. 197. Guido Balsamo Stella was a gifted young artist from Turin who traveled widely in Europe during the first decade of the 20th century. At first, the artistical influence exerted on Balsamo Stella by his long stay both in Northern Europe and in Bohemia were very strong felt. In Munich, he studied and exhibited with members of the Secessionist movement. While in Sweden, Stella met Edward Hald and Simon Gate and became interested in their work with etched and carved glass at Orrefors. During the war years, he worked as designers at Orrefors, focusing on the art of glass engraving before moving back to Italy. Gio ponti himself always had words of praise for the works designed by Guido Balsamo Stella and on his death in 1941 he dedicated to him a commemorative article.
- height
- 6.75
- diameter
- 8