French Art Deco
Attributed to:
Dominique Dufour a/k/a Degué
Flower Vase
Art Glass and Wrought Iron
Circa 1920s
DIMENSIONS
Height: 8 inches (20.32 cm) Diameter: 9 inches (22.86 cm)
DETAILS
The vase is marked on its base with the inscription "Made in France - Ovington's New York," indicating its origins and its journey from France to the United States. Ovington's, a prestigious high-end store in New York City known for its luxurious selection of fine china, European bronzes, glassware, and other upscale items, was responsible for importing and selling this elegant vase.
ABOUT VASE
This exquisite French Art Deco glass vase, attributed to the renowned artist Degué, is believed to have been crafted during the mid-1920s. The vase features a sophisticated design with glass that has been skillfully blown into a hand-wrought iron framework, exemplifying the era's fusion of modern aesthetics and traditional craftsmanship. In terms of condition, the vase is in remarkable vintage form, displaying only age-appropriate wear consistent with its history and use. Its unique combination of intricate glasswork and robust iron elements, coupled with its storied provenance, makes this vase a notable and valuable piece of Art Deco heritage.
ABOUT ARTIST ~ Dominique Dufour a/k/a Degué
Degué, whose real name is Dominique Dufour, was a prominent French artist known for her work in the Art Deco movement. Born on August 14, 1906, in Paris, she became renowned for her contributions to decorative arts, particularly glassware, during the 1920s and 1930s. Degué came from a family with artistic inclinations. She was educated at the École des Beaux-Arts in Paris, where she honed her skills in design and craftsmanship. Her education and early exposure to artistic circles in Paris played a significant role in shaping her career. Degué initially gained recognition for her work in ceramics and metalwork before focusing on glass design. She became one of the leading figures in the Art Deco movement, known for her innovative and elegant designs. Her glass creations were characterized by their geometric patterns, bold colors, and high-quality craftsmanship. She collaborated with the famous French glassmaker, Verrerie d'Art de Baccarat, which significantly elevated her profile in the art world. Degué's pieces were celebrated for their sophistication and technical excellence, and she became known for her ability to blend traditional glassmaking techniques with modern aesthetics. Degué’s work remains highly regarded for its distinctive style and craftsmanship. Her glass pieces are considered collectible and are displayed in various museums and galleries around the world. Degué's contributions to Art Deco continue to be celebrated for their beauty and innovation. Degué passed away on November 17, 1996, but her legacy lives on through her influential designs and the lasting impact she made on the world of decorative arts.
$2,000
American Industrial Modernism
Dr. Peter Schlumbohm
Glass Bowl on Cork Base
Circa 1940s
DIMENSIONS
Height: 9.5 in (24.13 cm) Diameter: 10 in (25.4 cm)
DETAILS
The bowl has an illegible hand-incised mark on the bottom.
ABOUT BOWL
We proudly present a unique American Modernist Industrial hand blown glass bowl or vase on original cork base, designed by noted German/American inventor and designer Dr. Peter Schlumbohm. The piece was made during the 1940s.
ABOUT ARTIST: Dr. Peter J Schlumbohm (German/American, 1896–1962)
In the early 1900s, a movement emerged to blend attractive design with everyday household goods. German inventor Peter Schlumbohm, born in 1896, began inventing during his student years and later earned a chemistry PhD in Berlin. He pioneered refrigeration innovations and moved to New York in 1936, where he successfully marketed vacuum bottle designs to the American Thermos Bottle Company. His interest in the U.S. patent system grew, fueled by the success of his most famous invention—the Chemex coffee maker.
Inspired by Bauhaus principles and his love for coffee, Schlumbohm designed the Chemex using borosilicate glass, resembling laboratory flasks, patented in 1941. The simple yet elegant hourglass shape housed a filter for brewing coffee, gaining immediate popularity. Despite World War II disruptions, Schlumbohm secured production and expanded his product line with a carafe kettle in 1945. The Chemex's design resonated widely, even gracing the cover of the New York Museum of Modern Art's bulletin in 1942.
While Schlumbohm patented over 300 inventions, the Chemex remained his sole commercial success, recognized for its design excellence. Today, Chemex Corp. in Pittsfield, Mass., continues to cater to collectors and coffee enthusiasts, preserving its legacy in prestigious museum collections.
$3,600
Continental Neoclassical Style
A Pair of Rock Crystal Obelisks
Early XX Century
DIMENSIONS
Height: 12.75 inches (32.39 cm) Diameter: 4.5 inches (11.43 cm)
ABOUT OBELISKS
Elegantly crafted in the neoclassical style, this stunning pair of continental rock crystal obelisks presents a captivating presence. Each obelisk boasts a striking hexagonal shape, exuding a timeless allure that is further accentuated by its exquisite detailing. Skillfully mounted on six bronze rods, these remarkable obelisks are adorned with lustrous rock crystal balls, each adding a touch of opulence to the ensemble. The bronze rods not only provide stability but also serve as elegant connectors, seamlessly joining the obelisks to their hexagonal rock crystal bases. Dating back to the early 20th century and originating from Europe, these exceptional pieces showcase unparalleled craftsmanship and enduring beauty. Despite the passage of time, they remain in remarkable antique condition, displaying a subtle patina that speaks to their rich history and storied past. While bearing age-appropriate wear and signs of use, these obelisks retain their inherent charm and continue to enchant admirers with their timeless appeal.
$7,000
Grand Tour ~ Egyptian Revival
A Pair of Monumental Rock Crystal Obelisks
Vintage
ABOUT A magnificent pair of monumental rock crystal obelisks in Grand Tour or Egyptian Revival manner.
DIMENSIONS Height: 45 inches Width: 10 inches Depth: 10 inches
CONDITION Excellent vintage condition, wear consistent with age and use. No restorations.
$24,000
French Art Deco
Daum Nancy France
Flower Vase
Acid Etched Pâte-de-Verre Art Glass
ca. 1930
DESCRIPTION: This geometric, floral inspired 1930s French Art Deco deeply acid etched pâte-de-verre elegant flower vase bears the signature of Daum Nancy on the base edge. There is a nice weight to the thick-walled heavy glass. It has a beautiful and rich amber yellow color, etched right through to the clear. Sophisticated in its simplicity, the design consists of geometrically-stylized leaves and flowers encircling a vase, with a smooth banded edge at the top.
PERIOD: Ca. 1930
STYLE: French Art Deco.
MEDIUM: Acid Etched Pâte-de-Verren Art Glass.
DIMENSIONS: H: 6.875” x Max. Diameter: 6.875” x Opening Diameter: 3.375”
MARKINGS: Engraved on the base edge, ‘Daum Nancy’
CONDITION: Good antique condition. No chips or cracks. No damages, no restorations.
MAKER: Daum Freres of Nancy, France
The success of the Daum glass company is directly a result of its excellent management and entrepreneurial spirit.
The accidental founder of the company was Jean Daum (1825-1885). He was a financier of the company when it was known as the Verrerie Sainte Catherine. This company quickly hit hard times and it was Jean Daum who took control of it before it failed. Daum was not an artist by trade. He was a notary and industrialist. This new venture was a trial by fire.
The first glass produced by Daum is collectible, but it was not art glass. They made mostly clear glass with gold rims to be used while dining. It wasn’t until the 1890s that Daum began producing what we think of today as “Daum Nancy” glass.
Daum glass is thought to be made by the Daum Freres (brothers). This was not accurate when the company first began operating. It was Jean Daum and his son Auguste Daum (1853-1909) who laid the ground work for Auguste and his brother Antonin Daum (1864-1930) to lead the company in the early 20th century.
All Daum glass is handmade, but that certainly shouldn’t lead the reader to believe that Daum was a mom and pop operation. At the company’s height of production 400 workers were at the factory in Nancy, France. In fact Daum hired and employed some great artists who would later be famous for their own works, namely the Schneider Brothers. Henri Berge, Bernard Gruber, Eugene Gall, and Amalric Walter were key designers at Daum.
It took winning the Exposition Universelle in Paris in 1900 for Daum to really move out of the shadow of fellow Nancy glass maker, Emile Galle. In 1904 Galle died, and that is when Daum really took over the glass industry. Daum’s dominance only lasted for about a decade. In 1914 World War I began in France and the Daum factory was shut down and turned into a hospital. In 1918 the plant reopened, but things were not the same. Antonin Daum was leading the company, but the craftsmanship and innovation of the past twenty years was not present.
The golden age for Daum Nancy was likely between 1895 and 1914. This period saw Daum register patents and experiment successfully with construction and decoration techniques that makes their art so unique and highly desirable today.
The Daum glass factory is still open today. They currently make crystal art.
SOLD
Austrian Jugenstil
Loetz
Iridescent Art Glass Bowl ~ Bronzed Metal Stand
ca. 1900
Dimensions: Height: 9-1/8” Width: 11-1/4” Depth: 11-1/4”
A quintessentially Austrian Jugenstil in design, Loetz glass bowl with bronze-patinated stand, circa 1900. The hand-blown green/yellow/lilac/purple/milk-white colored iridescent glass bowl of wavy round form and having a 'trailed' glass design is housed in the original bronze-patinated metal stand of organically geometric form. Both, bowl and stand are in excellent antique condition consistent with age and use. No imperfections or restorations. Send us a message to request more details or discuss price. Please feel free to e-mail us with any questions regarding shipping or our listings and we will be happy to assist you.
sold
JUGENSTIL ~ ART NOUVEAU
after
Johann LOETZ Witwe
Flower Vase
Iridescent Art-Glass with Bronzed Mounting
Bohemia, ca. 1900
Dimensions: Height: 16.75 inches Width: 11.75 inches Diameter: 6.5inches
This large elegant, museum quality flower vase was probably made by Johann LOETZ Witwe Glassworks (Klostermühle, Bohemia, circa 1900) is a superior example of Jugendstil ~ Art Nouveau luxury object. The semi-translucent art glass strikes a spectator not only with the uniqueness of its surface, reminiscent of crocodile skin, but also with unexpected color scheme - a combination of dark brown, old gold and green, covered with craquelure; against the background of iridescent violet. The vase is framed by outstandingly designed bronzed & patinated pewter mounting, consisting of simple large handles, almost geometric-form; with one wreath of leaves, crowning the neck; and the second, forming a base. The simplicity of the forms both, the glass vessel and the mounting are generating extremely interesting decorative effects, inherent exclusively to Jugendstil ~ Art Nouveau era. The vase is in excellent antique condition consistent with age and use. No imperfections or restorations. We make our best effort to provide a fair and descriptive condition report. Please examine photos attentively, as they are part of the description. Send us a message to request more details or discuss price.
LOETZ Witwe Glassworks In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic. The Art Nouveau Period was the glory years of the company. The glassworks created large numbers of its own new designs of iridescent, trailing art nouveau glass, sometimes in collaboration with well-known artists and designers like Marie Kirschner and Franz Hofstötter (aka Franz Hofstätter). The company’s success during this period had two prime drivers – the technical expertise of Prochaska and the business acumen of von Spaun. Loetz Witwe created many of its own designs, and also supplied glass commissioned by major customers like E. Bakolowits (Vienna) and Max Emanuel (London). The Great Depression in the late twenties and another fire in 1930 hit the company hard, and during the thirties the glassworks changed ownership several times, often had to close down for long periods and finally declared bancruptcy once more in 1939, following the German invasion of Czechoslovakia. The glassworks manufactured utilitarian glassware for the Third Reich throughout the war, but then ultimately closed down completely in 1947.
SOLD
French Art Deco
CHARLES SCHNEIDER
Art Glass & Wrought Iron Flower Vase
Ca. 1920’s
Dimensions: Height: 11-3/4 inches Width: 13-3/8 inches Diameter: 10-1/2 inches
Although unsigned, this Art Deco masterpiece in red and white art glass and wrought iron is probably by Charles Schneider.
Charles and Ernest Schneider were a generation younger than Emile Galle and the Daum brothers, whose glassworks were in the same area of France. The Schneider brothers worked for Daum from the early 1900s, Ernest as a salesman/commercial manager, and Charles as a freelance designer. The brothers left Daum around 1912, and recommissioned an old glassworks under the name Schneider Freres et Wolff (Schneider Brothers and Wolff), a few miles north of Paris in 1913. Henri Wolff was an architect friend of Charles Schneider. Initially they made high quality cameo vases and lamps, but the war in Europe (1914-1918) led Charles and Ernest and most of their skilled glassworkers away to fight in the war. They returned and re-opened their glassworks in 1917 to make glassware needed for hospitals, and after the war they sold shares in the company to finance getting back into the art glass market. At that time the company was called the Societe Anonyme des Verreries Schneider. Charles Schneider was a brilliant and versatile designer, and the company produced a wide range of superb designs of vases, ewers, bowls, and lamps. They were very successful in marketing their glass to major high prestige retail stores both in Paris and overseas. They bought back their shares and re-named the company Verrerie Schneider.
$3,800
Vintage Murano
Maestro Imperio Rossi
Millefiori Art Glass Vase
XX Century
Dimensions: Height: 18-3/4 inches Diameter: 8-3/4 inches
Found in the middle section of the vase’ neck, there is a round glass medallion with letter “m”, indented into it for Maestro Imperio Rossi.
This grand Murrine Millefiori decorative flower vase was hand-blown in Murano, Italy by Maestro Imperio Rossi for Vetreria Di Pi. The Vetreria Artistica DiPi glassworks has been founded in Murano in 1986 by Imperio Rossi, followed by Mario Costantini. Imperio entered in the world of glass when he was only a boy of 13, following his father's steps and working side-by-side with some of the most important and talented Murano glass-masters, refining his skills and learning ancient secrets of this charming art. The production at DiPi's was at the beginning focussed on artistic vases, plates, and wedding favors, shifting later to the Millefiori technique by using Murrine, and creates objects of unmistakable Venetian taste, recognized worldwide. Some of Impero Rossi's creations are shown in the museums of Tokyo, Vienna, Madrid and New York.
$4,500
ART DECO
Charles Schneider
Bubbled Art Glass & Forged Iron Vase
France, circa 1918
Dimensions: 7-3/4” high x in 5-15/16” diameter (vase) x 4-3/8” diameter (base)
Charles Schneider was born in Chateau-Thierry, near Paris, on 23rd February 1881. At an early age, he moved with his family to Nancy, the artistic center of France. His brother, Ernest Schneider (1877-1937), started working for Daum in 1903 as clerk. Charles had started an artistic career and was already active at Daum since 1898. Concurrently, he studied the Ecole des Beaux-Arts in Nancy.
In 1913, the brothers decided to start their own business and bought a small glass factory, specializing in electric light bulbs, in association with a friend Henri Wolf, at Epinay-sur-Seine. This factory was known as ‘Schneider Freres & Wolf’. The new glassworks production started with, among others, a group of about twenty workers enticed away from the Daum manufacture. At the outbreak of the World War I, the firm's activity had to be stopped and the glassworks closed by the end of 1914.
In 1917, the factory re-opened once again, under the name "Societe Anonyme des Verreries Schneider". At this time, public taste still favored the Art Nouveau style, and the factory produced mainly ‘cameo’ glass with floral and animal designs, and vases with applied handles and bubbles. Apart from the introduction of art glass, half of the production was of commercial drinking glasses. In 1918, fire destroyed the studios at Galle and a group of artists went to Schneider’s to continue their production for Galle.
Some of the factory's most interesting models during the early period were designed by Gaston Hoffman between 1918 and 1921. His pieces are not signed with his name, since he was a salaried employee of the firm. Most of his models are in the top rank of the factory's production.
After the 1925 exhibition, various new designs were created and the factory expanded to employ about 500 workers. Most of Schneider’s art vases and lamps were exported to America.
After the Wall Street crash of 1929, demand dwindled and the factory started to decline. During the 1930’s production of art glass was down to a few pieces a day as they concentrated on making simple designs with less colors for the local market.
Attempts were made to save the firm, but Ernest had been seriously ill since the end of the 1920's and was of no help. He died in June 1937, one month after the liquidation of the "Verreries Schneider". In 1940, during the war, the factory was requisitioned by the German troops and used as a restaurant.
In 1950, Charles Schneider and his son founded a new glassworks at Epinay-sur-Seine, named "Cristalleries Schneider", which was later transferred to Lloris after an accident caused by a gas explosion. Like the old Schneider factory, this one specialized in free-blown glass. Following the artistic trend of the 1950's, the glassworks produced glass sculptures, crystal vases (sometimes bubbled and colored), ashtrays, clock frames, candlesticks and fruit bowls. But this time, the glass was lead crystal, which had come back into favor in France during the 1930's after being revived in Scandinavia. It was no longer cut, but worked almost exclusively by free-blowing and drawing. All the productions were signed "Schneider France".
Charles Schneider’s died in 1952 and the factory was closed in 1981.
sold
Louis Comfort Tiffany
Favrille
Iridescent Blue, Purple & Brown Art Glass
Queen Bowl
Ca. 1900
Signed on base "L.C.T.” (Louis Comfort Tiffany) and "Favrile”.
Dimensions: Diameter: 8.25" | Height: 3.25”
A fine Art Nouveau Louis Comfort Tiffany’ Favrile iridescent blue, purple and brown art glass Queen Bowl with scalloped edges and a ruffled rim, circa 1900.
SOLD
after Loetz
REPRODUCTION
Bohemian Art Nouveau Art Glass Flower Vase
XX Century
Dimensions:
Height: 10.25” Width: 7.75” Depth: 4.75” Neck diameter: 2.25” Base: 4.5” x 3”
A superior example of Jugendstil ~ Art Nouveau art glass objects, this museum quality vase was made by Loetz, Klostermühle (Bohemia) circa 1900. The simplicity of the form of this vessel and silver frame is generating an extremely interesting decorative effect in Jugendstil ~ Art Nouveau style. The art-glass strikes a spectator with unexpected color scheme - a combination of a free form silver spots on the bright blood-orange background and wavy-like multicolor lines at the base.
sold
Dino Martens
For Aureliano Toso Art Studio
Mid-Century Modern
Murano Art Glass Bottle Vase
1960s
This magnificent and outstandingly elegant Murano art glass hand-blown bottle vase with red, blue and white filigrana ribbons and gold dust was designed by famous Dino Martens for Aureliano Toso art studio in the 1960s. A perfect synthesis between ancient Chinese aesthetics and mid-century modern style trend of the period.
Dimensions:
Height: 19-5/8”
Neck Diameter: 1-9/16”
Base Diameter: 4-7/16”
Max. Diameter: 6-5/8 inches
Dino Martens (1894–1970) was an Italian painter and designer particularly noted for his glasswork trained at the Accademia di Belli Arti. He had his paintings exhibited at th Venice Biennale (1924–1930) and after his return from Italy's African wars became the artistic director of Aureliano Tosso (the famous Venetian glassworks). He remained there for many years, producing many noted works using traditional Venetian techniques but producing some original effects, "daring" asymmetric shapes - the designs often being marked by their obvious difficulty of execution.
SOLD
Loetz
Bohemian Art Nouveau
Art-Glass Silver-Mounted
Flower Vase
~ 1900 -
Dimensions: H – 6.33” D (1) – 6.5” D (2) – 4.5”
A superior example of Jugendstil ~ Art Nouveau art glass objects, this museum quality vase was made by Loetz, Klostermühle (Bohemia) circa 1900. The art-glass strikes a spectator with unexpected color scheme - a combination of dark green, iridescent pearl-white and blood orange. The vase is framed by outstandingly designed and stunningly manufactured sterling silver mounting, crowning the neck. The simplicity of the forms both, the glass vessel and silver frame are generating extremely interesting decorative effects in Jugendstil ~ Art Nouveau style.
Good antique condition consistent with age and use. There is no damage or repairs.
We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively. Send us a message to request more details or discuss price.
sold
Emily Brock
Turquoise & Black Bar
Art Glass Sculpture
21st Century
Process: Kiln and Lamp worked glass, aluminum, silicone adhesive
Dimensions: Height: 11 inches Width: 12.75 inches Depth: 12.75 inches
INDIVIDUAL EXHIBITIONS:
·2005 Solo exhibit, Hawk Gallery, Columbus, Ohio
·2003 Solo exhibit, Habatat Gallery, Boca Raton, Florida
·2001 Habatat Galleries, Pontiac, Michigan
·1999 “Favorite Environments” Riley Hawk Galleries, Columbus, Ohio
·1998 Habatat Galleries, Boca Raton, Florida
·1998 “Tray Scapes” Habatat Galleries, Chicago, Illinois
·1997 Habatat Galleries, Pontiac, Michigan
·1995 Habatat Galleries, Boca Raton, Florida
·1995 Habatat Galleries, Pontiac, Michigan
·1994 “Celebrations” Habatat Galleries, Farmington Hills, Michigan
·1993 “Games” Habatat Galleries, Farmington Hills, Michigan
·1992 Habatat Galleries, Boca Raton, Florida
·1992 “Personal Spaces” Habatat Galleries, Farmington Hills, Michigan
·1991 “Uptown, Downtown” Habatat Galleries, Farmington Hills, Michigan
·1990 “Places and Spaces” Elaine Horwitch Galleries, Santa Fe, New Mexico
·1990 “Escapes” Habatat Galleries, Farmington Hills, Michigan
·1990 “Mainstreet USA” Habatat Galleries, Lathrup Village, Michigan
·1989 “Wines & Spirits” Habatat Galleries, Farmington Hills, Michigan
·1988 “Recent Work: Fused/Slumped Glass” Mariposa Gallery, Albuquerque, New Mexico
·1987 “New York” Habatat Galleries, Bay Harbor Islands, Florida
·1987 “Environments, A Series of Glass Constructions” Habatat Galleries, Venture Gallery, Lathrup Village, Michigan
SELECTED GROUP EXHIBITIONS
·2004-05 Group Exhibition, “Fragile Nature”, Habatat Galleries, Royal Oak, Michigan
·2003 “Northern Lights” art gkass in Santa Fe, Running Ridge Gallery, Santa Fe, New Mexico
·2003 “Five from Ten” The Alfred Berkowitz Gallery, The University of Michigan Dearborn, Michigan
·2002 “From Tiffany to Chihuly” Twentieth Century Art Glass, Patrick and Beatrice Haggerty Museum of Art, Milwaukee, Wisconsin
·1997 “Currents in Contemporary Glass” Pittsburgh, Pennsylvania
·1996 Exhibition, “Brock, Shaffer, Zynsky” Riley Hawk Galleries, Columbus, Ohio
·1995 “New Arrivals” Riley Hawk Galleries, Columbus, Ohio
·1995 “Attention to Detail” Habatat Galleries, Aspen, Colorado
·1993 “Maximizing the Minimum” Museum of American Glass, Wheaton Village, Millville, New Jersey
·1992 “Contemporary Kilnformed Glass” Contemporary Crafts Gallery, Portland, Oregon
·1991 “World Glass Now ‘91” Sapporo, Japan
·1990 “The Art of Albuquerque” The Allbuquerque Museum, Albuquerque, New Mexico
·1989-05 “The International Glass Invitational” Habatat Galleries, Boca Raton, Florida
·1988-05 “ New Art Forms/SOFA” Navy Pier, Chicago, Illinois
·1988-05 “The Annual International Glass Invitational” Habatat Galleries, Royal Oak, Michigan
·1986-88 “The New Aesthetic”, An International Glass Invitational, Habatat Galleries, Bay Harbor Islands, Florida
·1986-91 “Scale/Detail” Habatat Galleries, Farmington Hills, Michigan
·1985 “Statements” Albuquerque, New Mexico
WORKS IN SELECTED COLLECTIONS:
·Franklin Park Conservatory, Colombus, Ohio
·Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin
·Hsinchu Cultural Center, Taiwan
·Charles A. Wustum Museum of Fine Arts, Racine, Wisconsin
·Columbus Museum of Art, Columbus, Ohio
·Detroit Institute of Arts, Detroit, Michigan
·Albuquerque Museum, Albuquerque, New Mexico
·Museum of American Glass, Wheaton Village, Millville, New Jersey
·University of Iowa Hospitals and Clinics, Iowa City, Iowa
·The Toledo Museum of Art, Toledo, Ohio
·Shimonoseki City Art Museum, Shimonoseki City, Japan
·Hokkaido Museum of Modern Art, Sapporo, Japan
·High Museum of Art, Atlanta, Georgia
·Bullseye Glass Company, Portland, Oregon
sold
French Art Nouveau
~ Perfume Bottle ~
Etched & Hand-Engraved Crystal and Silver Repose
Body Lotion or Bath Salt Jar
Ca. 1900
Dimensions:
Height: 5 1/2 inches Max. width: 3 1/2 inches Bottom diameter: 2 7/8 inches
This fine and unusual French antique perfume bottle of a superb quality and workmanship and can also function as a body lotion or bath salt jar/bottle. After over a hundred years, today this elegant object is ready to be used for the intended purposes, and would be an exquisitely tasteful decoration for a dressing table, dresser or vanity of the most demanding of the ladies. It is made of a very thick crystal and has a sterling silver hinged round lid. The crystal part of the bottle is masterfully etched and hand-engraved throughout its perimeter with the Irises pattern, a floral motif made one of the most popular during the Art Nouveau era. The top of the sterling silver hinged round lid is also decorated with a charming bouquet of the same flowers, rendered in the repose technique. Both, the neck and the top cover of the lid are stamped with a full set of French hallmarks, half-erased due to long-term use and therefore illegible. The repose bouquet of Irises on the cover is stamped additionally with an essayist' hallmark with artist initials "RD". This beautiful perfume bottle is in fine antique condition consistent with age, with minimal wear to crystal and silver parts, no cracks, no hairlines, no damages, no restorations.
$450
Mid-Century Italian Modernism
Luciano Vistosi
Venetian Murano Art Glass
- Bud Vase -
Ca. 1955
Dimensions: Height: 4 3/4 inches Length: 8 1/2 inches Depth: 6 1/2 inches
This absolutely unique, beautiful red, green and clear art glass bud vase of the most unusual design was created in the 1950's or 1960's by Luciano Vistosi, who was born and died on the islands of Murano in the lagoon of Venice, the great sculptor and glass artist, and one of the most significant figures in recent Italian art.
Luciano Vistosi (Italian, 1931 – 2010 )
It was in the glass manufactory of his father that Luciano Vistosi (Murano, Italy: 1931 – 2010 ) learned to pull and raise the incandescent mass and transform it into an eagle, a dove, a farming girl, a female nude; or nightmares. Following his father’s death in 1952, Vistosi founded the new Vetreria Vistosi with his uncle Oreste and brother Gino with the aim of making products linked to the latest developments in design. He also involved some leading firms, such as Aulenti, Sottsass, Magistretti, Zanuso, and Peduzzi. He concentrated above all on lighting, producing new products, including some famous series of wall sconces. But what appealed most to him was sculpture. In his artistic development as “sculptor”, Vistosi tested various techniques other than blown glass. Some works are sculpted from enormous blocks of rough glass in line with the “art of removal” typical of sculpting marble. These blocks were obtained using industrial glass, as in the case of his famous project for the Accademia Bridge. This was in the mid-1980s. At that same time, the artist was making houses and skyscrapers of transparent glass measuring up to a meter high. Architectural sculptures boasting a strong appeal thanks to their geometric perfection and underlying desire to open the way to a more livable city, they were shown with sea-green crystal works and Randi in the artist’s workshop at Murano, just a short distance from the Museo del Vetro. Some of Italy’s leading photographers, including Ugo Mulas, Gianni Berengo Gardin, Paolo Monti and Franco Fontana have, through their cameras, interpreted the innovative nature of Luciano Vistosi’s work: a dialogue between sculpture and photography that was important for the artist, as he himself used cameras to seek out lines, forms, shapes and inspirations for new creations.