Glass

This striking handblown work of Swedish art glass design is by Bertil Vallien (b. 1938 - ), celebrated glass artist, sculptor, ceramist, and designer. Vallien's career in glass began at Boda Glassworks in 1963, upon his return to Sweden from his studies in art and ceramics, both in Sweden and the US. Vallien's experimentation with sand-casting glass techniques would eventually bring him fame and this fascination is evident even in this exploratory piece.

The exterior surface of this piece is undulating, uneven, and with a base colour of pearlescent green. The next layer is a dappling in rich Inky Indigo which encircles the bowl interspersed with what appears to be a Powdered Peach tone. The iridescence is underpinned with lava-rock-like texture and the whole piece is finished with a dusted Peridot-toned 'pebble'. The interior of the bowl is a smooth, semi-matte and frosted layer of glass overlaid in iridescence.

The overall effect is quite spectacular, giving the air of a delicate bowl carved from an extraterrestrial iridescent geode of quartz crystal and lava. 

This particular piece is numbered and marked as 'Unik', indicating that it is a unique piece and when combined with the design, craftsmanship and condition, makes this piece a rare find. 

CONDITION
Excellent, no chips, cracks or repairs. Age-commensurate wear, most prominently on the underside of the bowl, please refer to photos as they form part of the condition report. The bowl is inscribed with 'BODA UNIK 3645 B.VALLIEN. The exterior also bears the silver label 'Handmade Boda Sweden'.

MEASUREMENTS
Height: c. 3.2" /  8.2 cm x c. 4.1" / 10.4 cm diameter (across widest point). Base diameter: c. 2" / 5cm. Unpackaged weight: c. 0.3 kg / 275 g.

NOTES
Bowl will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Born in 1938, Bertil Vallien was only 15 when he left home, drawn by the allure of the big city. After a series of occasional jobs, as a window-dresser at one of the main department stores in Stockholm, and as an apprentice in his father's decorating firm, Vallien would eventually decide to become an artist which would lead him into the world of ceramics. The guidance he received in his early career included that of Stig Lindberg - one of Sweden's foremost designers of ceramic art and one of the leading designers for Rörstrand in the 1970s.

Today, Vallien is one of the most well-known representatives of 20th-century Swedish ceramic and art glass design and is represented at the Swedish National Museum of Art and Design as well as abroad at the Everson Museum of Art of New York.

Vallien's works have only become more collectable over the years with sculptures from his Head and Journey (Boat) series fetching up to $20,000 USD.

This sleek work of Scandinavian Modern art glass is by Vicke Lindstrand (b. 1904 - d. 1983). Lindstrand is considered one of the most influential 20th-century glass artists and a glass art pioneer. His prolific career held many design highlights, including his ability to excel at a technique called Sommerso in which a vividly coloured or patterned section of glass is surrounded by and seemingly floats within a clear crystal body.

This particular piece comes from the Colora series, named after the technique pioneered by Lindstrand. The technique applied to this piece involved carefully layering the Cobalt, Lapis coloured glass, reheating and manipulating the layered glass to form the final shape before encasing it in the clear, crystal casing and magnifying the underlying pattern. The piece is finished with a bevelled around the rim and base, giving the effect of a polished gem.

The design of this work embodies the tenets of simplicity, minimalism and functionality influences of the Scandinavian Modern design movement. 

CONDITION
Excellent. No chips, cracks, or repairs. There is negligible surface wear and movement marks on the underside of the base that are commensurable with the age of the piece - please see photos as part of the condition report. The underside of the base is signed with the inscription 'Kosta' and the model number: '06085'

MEASUREMENTS
Height: c. 6.6" / 16.7 cm (from base to rim) x c. 3.4" / 8.6 cm in diameter (across widest point). Base measurements: c. 3.4" / 8.6 cm. Unpackaged weight: c. 1.5 kg / 1,500 g

A BIT OF HISTORY
This sleek work of Scandinavian Modern art glass is by Vicke Lindstrand (b. 1904 - d. 1983). Lindstrand is considered one of the most influential 20th-century glass artists and a glass art pioneer. Lindstrand, together with his peer Edvin Öhström, pioneered a new glass-colouring process called the Ariel technique.

Lindstrand's prolific career began in commercial illustration before finding employment at the glass manufactory Orrefors. He would join Kosta Boda 1950, remaining there until 1973. Beyond his commercial work, he also produced several massive public sculptures around the world. Today, his works are in many museum collections, such as the Victoria and Albert Museum in London, the Museum of Fine Arts in Houston, and The Museum of Modern Art in New York.

Kosta Boda, Sweden’s oldest glass company, was founded in 1742 and would only begin making art glass — that is, unique and limited edition pieces — with the hiring of the painter Gunnar Wennerberg in 1898. Kosta Boda enjoys a reputation as the country’s most artistic and experimental glassworks, featuring artists and sculptors.
Two post-war Kosta Boda designers stand foremost in the minds of collectors, one is Vicke Lindstrand, who excelled at a technique of 'Sommerso', or cased glass. The other is Erik Höglund, who had an almost artisanal eye for glass shapes, and liked to produce glass that had a textured, warped look.

This striking work of Swedish art glass design is by Bertil Vallien (b. 1938 - ), a celebrated glass artist, sculptor, ceramist, and designer. This piece is attributed as a variation of the Columbus series which Vallien created for Kosta Boda and is 1 of 100 pieces. 

Suspended inside the sculpture are symbols through which Vallien communicates, icons, and mythological expression. This boat tells the journey from yesterday to tomorrow. The ship forms an encapsulated timeline where the stern is the past, and the bow is what is to come. The center of the boat bears the passenger, ladder, and a celestial body. The bow is clear, as the future is unwritten and hopeful. The piece is finished with solid clear interior created by the pouring of molten glass and silver plating on the exterior.

Vallien's sand casting technique has brought him worldwide acclaim. Using wooden models, he creates a hollow in the sand which is then filled with various powdered oxides giving finishings from textures to frosted patterns of colour. The 'story' is created by Vallien with the placement of the symbols and icons before molten glass is poured into the sand moulds.  

CONDITION
Excellent, no chips, cracks or repairs. Age-commensurate wear, most prominently on the exterior silver plating, please refer to photos as they form part of the condition report. The sculpture is inscribed with '7520114 Kosta Boda, Lim. ['Limited Edition'] B Vallien ' and labelled on the exterior with the 'KOSTA BODA, Sweden 1742' label.

MEASUREMENTS
Height: c. 2.3" / 5.8 cm x c. 9.8" / 25 cm in length x c. 2.6" / 6.5 cm width.  Unpackaged weight: c. 1.2 kg / 1,205 g

NOTES
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Born in 1938, Bertil Vallien was only 15 when he left home, drawn by the allure of the big city. After a series of occasional jobs, as a window-dresser at one of the main department stores in Stockholm, and as an apprentice in his father's decorating firm, Vallien would eventually decide to become an artist which would lead him into the world of ceramics. The guidance he received in his early career included that of Stig Lindberg - one of Sweden's foremost designers of ceramic art and one of the leading designers for Rörstrand in the 1970s.

Today, Vallien is one of the most well-known representatives of 20th-century Swedish ceramic and art glass design and is represented at the Swedish National Museum of Art and Design as well as abroad at the Everson Museum of Art of New York.

Vallien's works have only become more collectable over the years with sculptures from his Head and Journey (Boat) series fetching up to $20,000 USD.

This striking and romantically joyful work of handblown Japanese mid-century art glass is by the glassworks Tajima, who was known to have produced art glass under the label of Best Art Glass.

Elegant and graceful, the curves that shape the 3 lobed 'petals' creates an organic 'unfurling' from the centre. The palette is a striped arrangement of Sakura pink followed by Cobalt blue and Emerald green, handblown into a swirling pattern to create the main featured colouring of the piece. The gem-like tones vary in intensity and finish with an accent of clear glass at the base.

CONDITION
Excellent. There are no chips or cracks, only mild wear on the surface that is commensurable with age. Please refer to the photos as they form part of the condition report. The underside of the base has a concave pontil that is a known finishing touch of Japanese art glass.

MEASUREMENTS
Height: c. 3.1" / 7.8 cm (base to rim) Diameter: c. 7.4" / 18.8 cm (across widest point). Base diameter: c. 3.1" / 8 cm. Unpackaged weight: c. 1 kg / 970 g

NOTES
Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items

A BIT OF HISTORY
Tajima Glassworks
Unfortunately, little is known about Tajima Glass. However, it is known that the glass studio was founded in 1956, in Tokyo, Japan, by Matsutaro Tatsuta. They are known for coloured, textured and often mould-blown or hot-worked art glass. Tajima Glass are still operating today. The quality and style of their work are similar to other Japanese glassworks, rivalling and often mistaken for Italian Murano glass and Czech glass from the same period.

This vibrant handblown work of mid-century Japanese 'Fazzoletto' art glass is by Hokuyo Glassworks. Glass collectors familiar with the Murano technique Fazzoletto (translation 'handkerchief) will know that this is the art of crafting glass to mimic the elegant flowing folds of fabric.

Elegant and graceful, the curves that shape the 6 lobed 'petals' rise and fall asymmetrically to create an organic 'unfurling'. The Hokuyo interpretation of the Fazzoletto technique, the exterior of this piece has the palette of rich Scarlet red with light swathes of Charcoal ending in a clear casing at the base. The interior is a sumptuous Milk-white strikingly offsetting the red exterior. 

Amongst collectors, the skill and quality applied in creating Japanese art glass is very much known to rival its Western counterparts and can often be more difficult to find.

CONDITION
Excellent. There are faint movement marks that are on the underside of the base. All wear is commensurable with age. Please refer to the photos as they form part of the condition report. The underside of the base has a concave pontil, a known finishing touch of many Japanese glassworks.

MEASUREMENTS
Height: c. 8.5" / 21.5 cm (base to rim). Width: c. 7.1" / 18 cm (across widest point). Base measurement: c. 3.3" / 8.3 cm (across widest point). Unpackaged weight: c. 1.6 kg / 1,555 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Hokuyo Glassworks
Founded in 1949 in the prefecture of Aomori in Japan, Hokuyo built a reputation for producing glass floats for fishing and eventually became known as a top producer by the early 1970s. Around this time, the glassworks also became known for producing Tsugaru Bidoro (Tsugaru glass) and experimenting with vibrant art glass. 

Tsugaru Bidoro is created by a 'free-blown' technique of glass-blowing originating in the 1st Century BC. Over the years, Hokuyo has continued to experiment with molding technology and coloured glass that today, emphasises the four seasons with colour as well as the 'creator's feelings and passion'. 

This vivid work of mid-century handblown Japanese art glass design is by Iwatsu Hineri glassworks. Glass collectors familiar with the Murano technique Sommerso (translation 'submerged) will know that this is the art of capturing segments of solid colour in clear glass.

The graceful, extending corners with one flourishing curl are a classic to Hineri interpretation of mid-century art glass, just as the capturing of the Scarlet red, Tangelo orange and Violet within the clear cased triangular base is a rival to the Sommerso technique. The interior of the dish enables a view of the swirling colours as they whirl outwards into varying intensities of colour into the extended corners.

Amongst collectors, the skill and quality applied in creating Japanese art glass is very much known to rival its Western counterparts and can often be more difficult to find. Hineri vases and 4-petalled dishes in this palette are common but the tricorn form of this piece makes it a particularly rare find. 

CONDITION
Very good. No chips and cracks to the exterior. There is negligible surface wear and a micro bruise on the underside of the base that is commensurable with age. Please refer to photos as they form part of the condition report. The concave pontil on the underside of the base is a known finishing touch of Iwatsu.

MEASUREMENTS
Height: c. 4.6" /  11.8 cm (base to rim). Width: c. 10" / 25.5 cm (across widest point). Base measurements: c. 3.7" / 9.4 cm (across widest point). Unpackaged weight: c. 1.3 kg /  1,315 g

NOTES
Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Hineri Iwatsu Glassworks
Unfortunately, little is known about Hineri Iwatsu despite being one of the largest glassmakers in Japan, the commonly cited and understood reason is due to language barriers. However, Iwatsu is deemed to have produced art glass under the Hineri and Art Glass labels before closing in the 1990s. Iwatsu were known to have been based in Osaka in Japan, producing colourful art glass during the 1970s. The quality and style of their work rivalled and is often mistaken for, Italian Murano glass and Czech glass from the same period.

This beautifully biomorphic and handblown work of Czech Modernist art glass was designed by Josef Cvrcek (b. 1931 - d. 2010) and Miloslav Klinger (b. 1922 - d. 1999) for Bohemian glassworks Zelezny Brod Sklo (ZBS). This piece is a rare-to-market work standing at an imposing 15" in height and crafted from Neodymium (Alexandrite) glass into the organically tactile, twin-chambered form. The rarity of this piece comes from this particular piece's form being crafted from Neodymium, the condition, and this statement size. 

The contemporary form of this piece is composed of a central chamber that is echoed by a smaller, asymmetrical chamber, both of which are firmly cradled by the main body of the solid crystal glass. 

This work is not only special in the abstract, organic form that creates elegant refractions but it also has the ability to colour change. The colour-changing ability comes from Neodymium, an element incorporated into the glass during the crafting process. Under daylight, the Neodymium glass presents a pale lilac colour however, under indoor and fluorescent lighting, the element becomes a pale blue. 

CONDITION
Excellent, no chips or cracks or repairs. There is very mild surface wear that is commensurate with the age of the piece and most evident in movement marks on the underside of the base. Please refer to the photos as they form part of the condition report. 

MEASUREMENTS
Height c. 15.3" / 38.5 cm x c. 7.9" / 20 cm in width (across the widest point). Depth (Thickest point) measurements: c. 2.6" / 6.5 cm. Rim measurement: c. 1.6" / 4 cm x c. 1" / 2.3 cm. Base measurements: c. 5" / 12.6 cm x c. 2.6" / 6.5 cm. Unpackaged weight: 4.5 kg / 4,470 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Josef Cvrcek (b. 1931 - d. 2010) Josef Cvrcek began his career as a glassblower in 1945. He started working at the Zelezny Brod Sklo Glassworks in 1951 and quickly gained recognition for his innovative glass designs. Cvrcek was known for his ability to manipulate glass in ways that were previously thought impossible, such as creating thin, delicate structures that appeared to defy gravity. His work often featured organic forms and abstract shapes, and he frequently incorporated color and texture into his designs. Cvrcek's work can be found in museums and private collections around the world.

Miloslav Klinger (b. 1922 - d. 1999) Miloslav Klinger was born in Hrubá Horka near Železný Brod. After a year of apprenticeship in glass chandeliers with Josef Kleinert, Klinger studied at the Glass School in Železný Brod under the guidance of prof. Jaroslav Brychta and master Jan Stuchlík. After graduating, Klinger worked in Kleiert's company as a designer for two years. After completing his studies, Klinger returns to Železný Brod as a designer, where, apart from his brief career as director of the Glass School in Železný Brod, he remained throughout his life.

Zelezny Brod Glassworks
Železný Brod is an old glass-producing town founded in the eleventh century. It was originally known as Brod ("ford") or Brodek ("little ford"). Železný ("iron") was added to its name in the fourteenth century, alluding to the town's steelworks. The town's main industry is represented by producers of blow-moulded glass, as well as that of jewellers. The Železný Brod (ZBS) glassworks was created in 1948 as a result of nationalisation, at the time, this was made up of 9 glass factories in the town. ZBS being particularly well known for its free-form organic vases and bowls designed by Miroslav Klinger.

This striking and romantically joyful work of handblown Japanese mid-century art glass is by the glassworks Tajima, who was known to have produced art glass under the label of Best Art Glass.

Elegant and graceful, the curves that shape the 5 lobed 'petals' creates an organic 'unfurling' from the centre. The palette is a striped arrangement of Sakura pink followed by Cobalt blue and Emerald green, handblown into a swirling pattern to create the main featured colouring of the piece. The gem-like tones vary in intensity as they trace every fold and curve of the lobes and finish with an accent of clear glass at the base.

This excellent piece is stylistically timeless making it suitable for standalone display as a centrepiece or functional use.

CONDITION
Excellent. There are no chips or cracks, only mild wear on the surface that is commensurable with age. Please refer to the photos as they form part of the condition report. The underside of the base has a concave pontil that is a known finishing touch of Japanese art glass and bears the original label 'Best Art Glass, Foreign' with the 'Foreign' being an indicator of glass imported into the UK during this period. 

MEASUREMENTS
Height: c. 8.3" / 21 cm (base to rim) Diameter: c. 5.7" / 14.5 cm (across widest point). Base diameter: c. 2.8" / 7 cm. Unpackaged weight: c. 1.3 kg / 1,275 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items

A BIT OF HISTORY
Tajima Glassworks
Unfortunately, little is known about Tajima Glass. However, it is known that the glass studio was founded in 1956, in Tokyo, Japan, by Matsutaro Tatsuta. They are known for coloured, textured and often mould-blown or hot-worked art glass. Tajima Glass are still operating today. The quality and style of their work are similar to other Japanese glassworks, rivalling and often mistaken for Italian Murano glass and Czech glass from the same period.

This delicious handblown work of Post Modern art glass is by leading Swedish glass artist Kjell Engman (b. 1946 -), accoladed with the name 'Glass Wizard' for his unlimited imagination with art glass.

This piece is from the popular series named Bon Bon, designed by Engman in 1989. It's easy to see why this series was named Bon Bon, with the candy-coloured pieces ranging from pairing Lavender lilac with Lemon yellow to Marmalade orange with Sky blue.

The central part of this particular piece is spheroid shaped, beautifully curved, and toned in a Candied Sapphire blue. Fused into the spheroid is the pitcher stem in striped tones of Coquelicot and Coral orange, the mergng between the two colours is finished with light sand texture. This work is further accented with an organically shaped Lemon yellow handle and finished with a disc of clear glass for the base.

The overall composition of this work is of great harmony, demonstrated in the stunning blending of colour with form and size, makes this a statement piece.

CONDITION
Excellent. No chips, cracks, or repair. There is negligible surface wear and movement marks on the underside of the base that is commensurable with the age of the piece - please see photos as they form part of the condition report. The underside of the base is signed, denoting 'Kosta Boda, K Engman, 89066'

MEASUREMENTS
Height: c. 14" / 36 cm tall (from base to rim) x c. 8.1" / 20.5 cm in width (across widest point). Depth: c. 3.7" / 9.5 cm. Rim: c. 2.3" / 5.8 cm. Base: c. 3.9" / 10 cm. Unpackaged weight: 1.9 kg / 1,880 g

NOTES
Pitcher vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Kjell Engman (b. 1946 -), accoladed with the name 'Glass Wizard' for his unlimited imagination with art glass and known for being one of ten highly talented artists. Since joining Kosta Boda in 1978, Engman has designed a number of iconic series, drawing inspiration from diverse sources such as the animal kingdom, the world of music and entertainment.

Engman's style is distinctive and immediately recognisable. Common characteristics to his work include being bold, bright and colourful, ranging from the playful to the delicate to the sensuous. It could almost be described as Dali-esque and does not conform to preconceptions of simple, minimalist Swedish design.

Engman has often been commissioned at home in Sweden and abroad, designing works for public display and even famous pieces such as the 2008 Eurovision Song Contest trophy. Engman's latest works and installations can be found at his dedicated website: http://www.kjellengman.com/

This striking and vibrant work of mid-century handblown art glass is of Japanese art glass design and by the glassworks Iwatsu, who were also known to have produced art glass under the labels of Hineri and Art Glass.

Graceful and organic, the central twist to the vase creates ripples that are highly tactile and invite touch. The colours of Apricot, Scarlet red and Azure blue swirl gloriously from the centre of the vase and outwards in alternating bands. The red and blue tones are translucent, creating stunning refractions when placed in the path of bright light. The work is finished with a clear glass 'Sommerso' casing at the base. 

Stylistically timeless and majestic in size, there is an air of vivacious vitality to this work that remains constant whatever the season. 

CONDITION
Very Good. There are no cracks, only mild wear on the surface of this piece and age-related fleabites at the base and underside of the vase that is commensurable with the age. Please refer to the photos as they form part of the condition report. The underside of the base has a concave pontil that is a known finishing touch of Iwatsu.

MEASUREMENTS
Height: c. 11.4" / 29 cm (base to rim) Diameter: c. 4.8" / 12.3 cm (across widest point). Base diameter: c. 3.4" / 8.6 cm. Unpackaged weight: c. 2.1 kg / 2,120 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Iwatsu Glassworks
Unfortunately, little is known about Iwatsu despite being one of the largest glassmakers in Japan, the commonly cited and understood reason is due to language barriers. However, Iwatsu is deemed to have produced art glass under the Hineri and Art Glass labels before closing in the 1990s. Iwatsu were known to have been based in Osaka in Japan, producing colourful art glass during the 1970s. The quality and style of their work rivalled and is often mistaken for, Italian Murano glass and Czech glass from the same period.

This striking and vivid work of handblown, hot worked of mid-century art glass is by Murano, Vetro Artistico Veneziano. This piece brings with it a beautiful demonstration of the Avventurina technique. Avventurina [tr. Aventurine] is one of many popular and widely recognised Murano technique and as its name suggests, is glass decorated with aventitius surface effects resembling the shimmering flecks of natural quartz. The decoration revives a 17th century technique pioneered in the Murano (Venice) glasshouse of the Miotto family.

This particular piece brings together a bold Candy Apple red with an exterior of silver floating shimmers that is cased in clear glass and worked into the organic, tricorn form. The clear casing is finished with 3 pulled rims, each supporting one of the three folded tips. 

Highly tactile, the form invites touch and the timeless style is suitable for standalone display or functional use. 

CONDITION
Excellent. There is very light use wear, most prominently on the underside of the base that is commensurable with the age of the piece. Please refer to photos as they form part of the condition report. The piece is additionally marked with most of the Vetro Artistico Veneziano label on the underside of the base. 

MEASUREMENTS
Height: c. 2.8" / 7 cm (base to rim) x c. 5.4" / 13.6 cm width (across widest point) Base: c. 1.2" /  3 cm. Unpackaged weight: c. 0.5 kg / 490 g.

NOTES
Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

This majestic and highly skilled work of Swedish design is a sculpted Op Art art glass vase that has been created in the style of Hanne Dreutler (b. 1942 - d. 2009), glass artist and silversmith for Kosta Boda glassworks. Dreutler's career included an important contribution to the art glass field in the excelling at a technique called Graal glass. There are a number of glass artists from Kosta Boda who have been fond of the Double-Threading technique that is featured on this vase, such as Bertil Vallien, Ulrica Hyd-Vallien and Kjell Engman. However, this style of this piece has close similarities to Dreutler's works, e.g. https://anyesattic.com/products/studio-ahus-sweden-by-hanne-dreutler-optical-art-sculpted-art-glass-bowl-signed-and-dated

This particular piece bears vivid threads of Vermilion red edged in with varying tones of Cornflower blue that are woven and looped together into the cross-hatch pattern and blown into the final teardrop form. The visual overlapping of the lines creates the Op Art illusion and crosshatch effect. This net-like effect is suspended in a curved and clear glass form.

This refined piece is stylistically timeless and yet also prominently of the Swedish Modernist art glass design. The combination of the form, striking size with the colour palette and its condition makes it a rare find.

CONDITION
Excellent. No chips, cracks or repairs. There is negligible surface wear that is most prominent on the underside of the base. Please refer to photos as they form part of the description. The vase is labelled with Kosta Boda's 'Kosta Boda, Sweden 1742'.

MEASUREMENTS
Height: c. 18.1" / 46 cm tall (from base to rim). Rim c. 2.1" / 5.3 cm. Width: c. 7.9" / 20 cm (across widest point). Depth: c. 3.9" / 10 cm (across deepest point). Base: c. 3" / 7.5 cm x c. 2.3" / 5.8 cm. Unpackaged weight: 5.8 kg / 5,790 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Hanne Dreutler (b. 1942 - d. 2009) / Studio Ahus
Hanne ( Hannelore ) Margarete Dreutler was a recognised German-Swedish glass artist and silversmith.
Dreutler trained as an industrial designer and silversmith began her career as an independent silversmith in Stockholm. She would go on to work for the Målerås and Flygsfors glassworks from 1968.

Dreutler moved to Kosta glassworks in 1971 where she would meet Arthur Zirnsack, and both would worked under Vicke Lindstrand. Dreutler and Zirnsack married and the couple started their own glassworks, Studio Åhus in 1977, one year after Kosta became Kosta Boda. Studio Åhus specialised in the famous traditions of Scandinavian glass art and Lindstrand worked at Ahus after he retired from Kosta Boda.

Dreutler's career included an important contribution to the art glass field and that was in the excelling at a technique called Graal glass. Graal glass is the cutting and engraving to reveal different colours of a blown glass bubble that consists of one or more layers of coloured glass overlaid on clear glass. The bubble is reheated and re-blown to the final shape of the object. The invention of this difficult technique was considered the 'holy grail' of glassblowing - hence the name ('graal' is Swedish for grail).

Dreutler's achievements include representation at the Stockholm National Museum, the granting of Studio Ahus' appointment to the King of Sweden in 1993 and in 1999, the awarding of the Kristianstad Municipality's cultural prize.

This stunning, handblown work of Swedish Modernist design art glass is by Vicke Lindstrand (b. 1904 - d. 1983), who was considered as one of the most influential 20th-century glass artists and a pioneer of glass art. This particular piece comes from a series of 5 objects designed by Lindstrand between 1955-1956 for Kosta (Boda) glassworks. Similar to Wirkkala's Kantarelli (Chantarelle) series that was released around the same time, Lindstrand's series focuses on the gentle exaggeration and stylisation of organic curves and stripes. But whilst Wirkkala chose to create physically grooved stripes on his works, Lindstrand chose to embed feathering threads of Deep Espresso into the body of his series. 

These beautiful threads are in fact individual and separate but the prismatic quality that is typically found in Swedish crystal magnifies the bands to create a rolling effect in the stem. This magnificent piece stays true to the roots of Modernist design through the beautiful simplicity of form that speaks to an honest expression of the natural material.

CONDITION
Excellent. No chips, cracks or repair. There is negligible surface wear and movement marks on the underside of the base that is commensurable with the age of the piece. Please refer to photos as they form part of the condition report. The underside of the base is signed with Lindstrand's initials and model number "LH1210" and further impressed with Lindstrand's acid edged stamp. 

MEASUREMENTS
Height: c. 7.2" / 18.3 cm tall (from base to rim) x c. 6.5" / 16.5 cm in width (across widest point). Base measurements: 2.4" / 6.1 cm. Unpackaged weight: 1.2 kg / 1,185 g

NOTES
Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Vicke Lindstrand (b. 1904 - d. 1983) is considered as one of the most influential 20th-century glass artists and a pioneer of glass art. Lindstrand's prolific career included many design highlights, including his ability to excel at a technique called Cased Glass (known to many glass collectors as 'Sommerso'), in which a vividly coloured or patterned section of glass is surrounded by and seems to float within a clear crystal body.

Lindstrand's career began in commercial illustration before finding employment at the glass manufactory Orrefors. He would join Kosta Boda in 1950, remaining there until 1973. Beyond his commercial work, he also produced several massive public sculptures around the world. Today, his works are in many museum collections, such as the Victoria and Albert Museum in London, the Museum of Fine Arts in Houston, and The Museum of Modern Art in New York.

Kosta Boda is Sweden’s oldest glass company, founded in 1742 and began making art glass — that is, unique and limited edition pieces — with the hiring of the painter Gunnar Wennerberg in 1898. Kosta Boda enjoys a reputation as the country’s most artistic and experimental glassworks, featuring artists and sculptors.

There are few Kosta Boda designers who stand foremost in the minds of collectors, one is Vicke Lindstrand, who excelled at a technique of 'Sommerso', or cased glass.

This vividly exquisite handblown work of mid-century Murano art glass brings with it the incredible beauty created by a number of expert Murano glass working techniques.

The expert techniques showcased in this handblown and sculpted piece of art glass includes:
- Satinato, the art glass technique that creates a 'frosted' or 'satin effect'
- Lattimo, also known as milk glass, as the final glass looks like fine china porcelain
- Zanferico, the glass technique that gives rise to elegantly striped and colourful objects. Different colours are fused together to form a striped mass that is then blown and shaped

As if the featuring of 3 exceptional Murano techniques was not enough, there is a further mother of pearl effect, Herringbone-patterned layer on the exterior surface, encasing the body. The work is finished with a ribbed and scalloped satin handle and a fluted ripple rim.

This stunning work is the Murano mid-century interpretation of Victorian art glass that enjoyed a popular revival at the time. The combination of the palette, condition, and form makes this piece a highly prized and rare find.

CONDITION
Excellent. No chips, cracks, or repairs. There is very faint and negligible surface wear on the exterior of the vase. Please refer to photos as they form part of the condition report.

MEASUREMENTS
Height: c. 8.9" / 22.7 cm x c. 3.7" / 9.5 cm wide (across widest point) x depth: c. 2.2" / 5.5cm. Base: c. 2.2" / 5.5 cm x c. 1.3" / 3.4. Rim c. 3.2" / 8.2 cm x c. 0.8" / 2 cm. Unpackaged weight: c. 0.8 kg / 790 g.

NOTES
The vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

This beautifully biomorphic and handblown piece was designed Czech art glass designer Miloslav Klinger (b. 1922 - d. 1999) for Bohemian glassworks Zelezny Brod Sklo (ZBS). This particular piece is particularly rare as it combines Neodymium and Citrine glass using the Sommerso 'Submerged' technique. 

This work is not only special in the abstract, organic form that creates elegant refractions - it also has the ability to colour change. The colour changing ability comes from Neodymium, an element incorporated into the glass during the crafting process. Under daylight, the Neodymium glass presents as a pale lilac colour however, under indoor fluorescent household lighting, the element becomes a pale blue. Neodymium glass is often known as Alexandrite glass. 

The contemporary form of this piece is composed of a clear central chamber that is cradled as well as complemented by 3 Neodymium trails. The clear chamber is submerged into a Pale Lemon Citrine base and the work is finished with an accent of 'pulling' at the rim. 

CONDITION
Excellent, no chips or cracks or repairs. There is very mild surface wear that is commensurate with the age of the piece and most evident in movement marks on the underside of the base. Please refer to photos as they form part of the condition report. 

MEASUREMENTS
Height c. 10.6" / 26.8 cm x c. 4.5" / 11.5 cm in width (across the widest point).  Rim measurements: c. 3.3" / 8.4 cm x c. 1.8" / 4.6 cm. Base measurements: c. 3.4" / 8.7 cm x c. 3.7" / 9.3 cm. Unpackaged weight: 1.3 kg / 1,280 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Miloslav Klinger (b. 1922 - d. 1999)
Miloslav Klinger was born in Hrubá Horka near Železný Brod. After a year of apprenticeship in glass chandeliers with Josef Kleinert, Klinger studied at the Glass School in Železný Brod under the guidance of prof. Jaroslav Brychta and master Jan Stuchlík. After graduating, Klinger worked in Kleiert's company as a designer for two years. After completing his studies, Klinger returns to Železný Brod as a designer, where, apart from his brief career as director of the Glass School in Železný Brod, he remained throughout his life.

Zelezny Brod Glassworks
Železný Brod is an old glass-producing town founded in the eleventh century. It was originally known as Brod ("ford") or Brodek ("little ford"). Železný ("iron") was added to its name in the fourteenth century, alluding to the town's steelworks. The town's main industry is represented by producers of blow-moulded glass, as well as that of jewellers. The Železný Brod (ZBS) glassworks was created in 1948 as a result of nationalisation, at the time, this was made up of 9 glass factories in the town. ZBS being particularly well known for its free-form organic vases and bowls designed by Miroslav Klinger.

This elegantly ethereal duo of handblown Swedish art glass miniatures is by Bertil Vallien, (b. 1938 - ), internationally celebrated Swedish glass artist, sculptor, ceramist, and designer for Kosta Boda, one of Sweden's leading glassworks.

Those familiar with the process of hand-blowing or hot working glass will know that glass needs to reach 1,320 °C (2,400 °F) to melt and even the working temperature is 1,090 °C (2,000 °F). This knowledge helps to appreciate the care, effort, and skill required to create these miniature works of art glass.

The blue pipe vase bearing the signature winding stripes is from Vallien's Rainbow series, designed in the 1980s. However, it is created in the uncommon and translucent Pale Powdered blue with traces of a golden-sand toned frit glass interwoven into the body.

The lidded pot is even more unusual and has not been attributable to a series, though it is a Vallien signed piece with its original label intact. The body and lid are also in an airy, Pale Powdered blue tone, very similar to the tone used in Vallien's Starlight series. The piece is finished with a clear curl finial on the lid.

Both pieces carry labels that display the parent company of Kosta Boda AB, this name came into use in 1976 before changing to Orrefors Kosta Boda AB in 1989.

CONDITION
Excellent. No chips, cracks, or repairs, please see photos as they form part of the condition report.
- Blue Rainbow Vase - the piece is inscribed with "BODA, ARTIST COL, B VALLIEN, 48282"
- Starlight Blue Lidded pot - the piece is inscribed with "Kosta Boda, B Vallien"

MEASUREMENTS
- Blue Rainbow Vase: Height: c. 2.5" / 6.3 cm x c. 1.8" / 4.6 cm rim diameter. Base diameter: c. 1.3" / 3.2 cm.
- Starlight Blue Lidded pot: Height: c. 4.1" / 10.5 cm (including lid). Diameter: c. 2.3" / 5.9 cm.
Unpackaged weight [all pieces]: c. 0.2 kg / 225 g

NOTES
Duo will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Born 1938, Bertil Vallien was only 15 when he left home, drawn by the allure of the big city. After a series of occasional jobs, as a window-dresser at one of the main department stores in Stockholm, and as an apprentice in his father's decorating firm, Vallien would eventually decide to become an artist which would lead him into the world of ceramics. The guidance he received in his early career included that of Stig Lindberg - one of Sweden's foremost designers of ceramic art and one of the leading designers for Rörstrand in the 1970's.

Today, Vallien is one of the most well-known representatives of 20th century Swedish ceramic and art glass design and is represented at the Swedish National Museum of Art and Design as well as abroad in the Everson Museum of Art of New York. Vallien's works have only become more collectable over the years with sculptures from his Head and Journey (Boat) series fetching up to $20,000 USD.

This elegant trio of handblown Swedish art glass miniatures is by three of Kosta Boda's famously celebrated glass artists: Bertil Vallien, Ulrica Hyd-Vallien and Monika (Monica) Backstrom.

In this trio:
- The charming white frit glass and hand-painted bowl is by Ulrica Hyd-Vallien from her 1979 series 'Butterfly'.
- The white frit glass, abstract flask-form vase, with delicate and tactile netted surface pattern is by Bertil Vallien from his 1978 series 'Network'.
- The elegant abstract bottle vase in tactile grey scavo and smooth, clear crystal casing is by Monika Backstrom attributed to her 1989 series Sunny. This piece is trimmed in Cerulean blue as opposed to the usual Scarlet red.

Both the Butterfly bowl and Network vase is from The Artist Collection, a concept was introduced by Vallien to give glass artists the freedom for personal, creative expression and to remove the 'mass produced' feeling. The final piece is from Kosta Boda Atelier collections. Whether pieces were created as part of The Artist Collection or Atelier, they are limited edition studio works and individual to the artist that created them. As each piece is handblown, this also makes the final décor of each piece unique.

Those familiar with the process of hand-blowing or hot working glass will know that glass needs to reach 1,320 °C (2,400 °F) to melt and even the working temperature is 1,090 °C (2,000 °F). This knowledge alone is enough to appreciate the care, effort and skill required to create these miniature works of art glass.

CONDITION
Excellent. No chips, cracks or repairs, please see photos as they form part of the condition report.
- Network White Flask - piece is inscribed with "BODA, ARTIST COL, B VALLIEN, 48012"
- Sunny Grey Bottle - piece is bears label with "KOSTA BODA SWEDEN, ATELIER BY MONIKA BACKSTROM"
- Butterfly White Bowl - piece is signed with "Ulrica H.V" and further inscribed with "Boda, Artist Col. 58236"

MEASUREMENTS
- Network White Flask: Height: c. 3.8" / 9.7 cm x c. 0.8" / 2 cm rim diameter. Base measurements: c. 2" / 5 cm x c. 1" / 2.5 cm.
- Sunny Grey Bottle : Height: c. 3.3" / 8.3 cm x c. 0.7" / 1.7 cm rim diameter. Diameter: c. 1.6" / 4 cm. Base diameter: c. 0.8" / 2 cm.
- Butterfly White Bowl: Height: c. " / 4.7 cm x c. " / cm rim diameter. Diameter: c. 2.4" / 6.2 cm. Base diameter: c. 1" / 2.6 cm.

Unpackaged weight [all pieces]: c. 0.2 kg / 230 g

NOTES
Trio will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Kosta Boda, Sweden’s oldest glass company, was founded as 'Kosta' in 1742 and began making art glass — that is, unique and limited edition pieces — with the hiring of the painter Gunnar Wennerberg in 1898. Kosta has a strong history for many well-known glass artists such as Ewald Dahlskog, Vicke Lindstrand, Erik Höglund, Bertil Vallien and many many more.

Kosta Boda was formed in 1976 when the merger of Kosta, Boda and Åfors glass communities took place. Kosta Boda enjoys a reputation as Sweden's most artistic and experimental glassworks, featuring artists and sculptors.

THE ITEM
This stunning work is of Modernist art glass is a celebration of the highly skilled Murano Sommerso technique. Sommerso is one of the most famous Murano techniques, ['Sommerso' translation: 'submerged']. Sommerso is used to create several layers of glass (usually with different contrasting colours) inside a single object, giving the illusion of immersed' colours without mixing. This technique is easily recognisable; characterised by an outer 'casing' of clear glass and the thick 'bands' of coloured glass inside it.

This particular piece has the sought after triple-layer Sommerso, beginning with a core of Apple green, the next layer is vibrant Ocean blue and the final layer is a graduating Magenta pink. The work is finished with the wings of Azure blue which flourish with a flare at the rim.

The cased layers are arranged in an abstract pitcher shape with a gently exaggerated rim. The effect of each colour is similar to freezing the moment in time when a paintbrush is dipped into water and the colour ripples outwards.

This exceptional piece is unique as it features Kintsugi golden seams following a careful repair and highlighting process and even rarer as Kintsugi is typically applied to repairing ceramics rather than glass. The Kintsugi technique used is modern and has been applied in a tactile manner, a striking compliment to the colour palette of this piece.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin. There is natural and very mild surface wear that is commensurate with the age of the piece.

MEASUREMENTS
Height: c. 7.8" / 20 cm tall by c. 4.3" / 11 cm width (across body's widest point). Base diameter: c. 1.8" / 4.5 cm. Depth: c. 2.4" / 6 cm. Unpackaged weight: c. 1.1 kg / 1,135 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is typically the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.

This exceptional work of French Art Nouveau cameo glass is by one of the most prominent glassworks Daum, based in the city of Nancy (1878 - present). The Daum studio creates their art in crystal and remains as one of the only studios who use the pâte de verre process for art glass and crystal sculptures.

Designed and crafted in the 1900s, the form and glowing ethereal palette of this piece is a rare combination that has made it a feature in the dedicated book "Daum - Maitres Verriers" by Edita Denoel, (Edita S.A. Lausanne, 1980, p. 61). The base colour palette is composed of cool and faintly opalescent pale blue tones, which has been overlaid with the tactile golden-hued Zucchini leaves, stems, flower buds and tendrils in high relief.

CONDITION
Excellent. No chips, cracks or repairs. There is mild wear to the surface that is commensurate with the age of the piece. Please refer to photos as they form part of the condition report. The vase bears the Daum Nancy signature with the Croix de Lorraine mark.

MEASUREMENTS
Height c. 9.8" / 25 cm by c. 3.9" / 10 cm diameter (across widest point). Rim (opening) diameter: c. 2.4" / 6.2 cm. Base diameter: c. 3" / 7.7 cm. Unpackaged weight: c. 0.8 kg / 825 gm.

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Founded in 1878 by Jean Daum, the studio rose to prominence during the Art Nouveau and Art Deco period (1890 - 1910, 1908 - 1935), capturing the attention and imagination of collectors all over the world. Daum would exhibit at Paris International Exhibition in 1889, a pivotal event which marked the birth of the French Art Nouveau movement. With leading artists such as Henri Berge, Almaric Walter, Charles Schneider and Jacques Gruber, the studio would go on to win their first ‘Grand Prix’ in 1900.

The studio continued its ascent to international fame around this time, which further elevated when they began to create their art with pâte-de-verre, a glass-making technique first used over five thousand years ago in the early world. Fueled by international success, the studio would broaden their range to glass art objects and enter into a period of phenomenal development. The studio revolutionised techniques by experimenting with materials such as acids, colour powders, fluorine hydrogen and enamel. Collaboration with leading designers was also a common aspect of Daum's exploration and creativity, working with names such as Louis Majorelle, Eugene Galles, Emile Wirts and Salvador Dali.

Today, Daum is well known for creating pieces in high quality, crystal glass.

THE ITEM
This charming mid-century piece with its romantically moody Steel blue is crafted from Lucite (also known as Plexiglas). Lucite became widely available in the late 1930s as a lightweight alternative to glass and this particular piece is cool to touch as glass is as well as ringing with glass-like tones when gently tapped.

The footed form of this piece is well-balanced and functionally versatile, and also lends itself to excellent refractions. Crafted in a cool-toned Steel blue, it is further decorated with an overlay of handpainted sweeping and swirling bands in Lemon yellow and Tangerine Orange.

This retro Modernist piece will make an excellent accent piece to a room with similarly themed Mid Century, Modernist or Retro decor.

CONDITION
Excellent. No chips or cracks or repairs. There is mild wear that is predominantly in the form of wear to the underside of the vase and negligible wear to the exterior body. There are a few minor inclusions from the production process and have been mentioned for completeness, please refer to photos as they form part of the condition report.

MEASUREMENTS
Height c. 4.3" / 11 cm x width: c. 4.7" / 12 cm (across the widest point). Base diameter: c. 2.2" / 5.6 cm. Rim (opening) diameter: c. 4.3" / 11 cm. Unpackaged weight: 0.1 kg / 126 g

NOTES
Bowl vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

This exceptional and rare work of Art Nouveau, Art Deco art glass is by Bohemian glassworks Kralik. The decor of this piece is the well documented 'Draped', which as the name suggests, has the effect of draped fabric. The textured, 'draped' surface effect is combined with the gold-toned iridescence of the art glass gives the effect of draped Cranberry pink satin.

The piece is finished with a silver collar accent (hallmarked to Birmingham Assay Office 1903-1904), which complements its elegant bottle form and was common to art glass design during the Art Nouveau period.

BIT OF HISTORY
The Kralik glassworks, full name Wilhelm Kralik Sohne, was originally founded by Josef Meyr in 1815, in Bohemia. The factory was originally called Adolfshutte. When Josef died, his son Jan took over the company. By this time, the company owned four glass factories. Jan died in 1841, and his two nephews Josef Taschek and Wilhelm Kralik became the owners. The company name was changed to J. Meyr's Neffen, and when Josef died in 1862, the name changed to J. Meyr's Neffe.

Wilhelm Kralik died in 1877, and left the company to his 4 sons. The company was split in two - Heinrich and Johann took the name Wilhelm Kralik Sohne, Hugo and Karl used the name Meyr's Neffe. Meyr's Neffe merged with Moser in 1922. Wilhelm Kralik Sohne continued to produce glassware until World War II.

CONDITION
Superb. There are no chips, cracks or repair to the glass, there is the mild sanding at the rim that is visible as a result of the wear to the silver collar and is from the production process. There is a single bubbling measuring c. 0.2 mm which is from the production process and has been mentioned for completeness. There is significant and visible wear to the silver collar which can be left untouched for its antique charm or replaced if preferred. Please see photos as they form part of the condition report. The silver collar is hallmarked to the Birmingham Assay Office, 1903-1904, the silversmith mark is unclear but has been attributed as 'AHD', Alfred Horatio Darby who was active from 1895 to 1933.

MEASUREMENTS
Height: c. 7.3" / 18.5 cm (from base to rim) x max diameter: c. 2.9" / 7.5 cm. Rim diameter: c. 1" / 2.7 cm. Base diameter: c. 1.8" / 4.5 cm. Unpackaged weight: c. 0.2 kg / 228 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

THE ITEM
This richly coloured 9 piece set of Swedish Modern design is by glass designer Lennart Anderssen (b. 1918 - d. 1999) for Gullaskruf glassworks.

The jewel-like colour palette of the set consists of a vibrant Cobalt blue, Ruby red, Ocean green and Grape purple. The form of the bowls is beautifully silhouetted with rounded angles, as is characteristic to Modern design with matching plates that have a gentle inversion and is otherwise smoothly disc-like. Each piece is finished with an accent of dotted reliefs arranged in 3 concentric circles.
This set gives an incredible pop of colours to compliment the dining table.

CONDITION
Superb. No significant damage such as cracks or repairs to the set, the following negligible wear and has been mentioned for completeness:
- Large serving bowl: small chip on the rim measuring c. 0.2 mm.
- Blue plate: very mild scratches.
Please refer to photos as they form part of the condition report. The gold foil Gullaskruf label denoting 'GULLASKRUF, SWEDEN' is present on all pieces except for the small blue bowl.

MEASUREMENTS
- Large Serving Bowl: Height c. 4.8" / 12.2 cm x c. 8" / 20.3 cm width (across widest point). Base diameter c. 2.5" / 6.3 cm.
- Small Bowl: Height c. 2.3" / 5.8 cm x c. 4.2" / 10.6 cm width (across widest point). Base diameter c. 1.8" / 4.5 cm.
- Saucer / Plate: Height c. 0.8" / 2 cm x c. 5.9" / 15 cm diameter (across widest point).
Unpackaged weight [Full Set]: c. 2.3 kg / 2,291 g

NOTES
Set will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Gullaskrufs glassworks (1927 - 1983) was a Swedish glassworks founded in Gullaskruv in by William Stenberg, glass production began in 1927. By 1930 Gullaskruf would exhibit their works at the Stockholm exhibition and around the same time, the glassworks came into contact with the foreign market. At that time, exports accounted for 45% of Gullaskruf's production and in addition to the USA and England, glass was exported to Norway, Denmark, Switzerland, Canada, South America, Australia and South Africa.

Over the years, the glassworks would be resident to many great glass designers and artists, some of who became artistic director for Gullaskruf. Designers and artists included: Hugo Gehlin (b. 1889 - d. 1953), Lennart Andersson (b. 1918 - d. 1999), Arthur Percy (b. 1886 - d. 1976) and Kjell Blomberg (b. 1931 - d. 1989).

This exceptional sculpture of handblown stylised art glass is by the glass master Licio Zanetti.This work is crafted from Alexandrite Neodymium glass and the technique used is likely Masello, given the weight, size and delicate elements of the sculpture and favoured by Licio. 

The allurement of this piece extends beyond the craftsmanship and that is in the Neodymium glass, a chemical element that is incorporated into the glass during the crafting process. Neodymium is sometimes known as Alexandrite, which changes colour from lilac under incandescent light or daylight and blue under fluorescent, household lights.

A BIT OF HISTORY
Founded in 1956 by Oscar Zanetti, Zanetti Murano Glassworks is a true family-run business and has since been handed down father to son for four generations. The glassworks quickly distinguished itself from the artistic quality of master Licio Zanetti's glass sculptures.

The glass studio soon took its place among the most prestigious companies on the island and has become one of the most important furnaces on Murano. Today, sculptures are sold through exclusive galleries in the city of Venice and selected partners around the world.

Massello is the technique used in Murano since the 1930s. The technique gives shape to hot glass held by a rod and uses the same tools as is used in blown glass-working. It's a technique with a strong visual impact, where the glass master uses precise movements.

CONDITION
Excellent, no chips, cracks or repairs, there is minimal wear in the form of mild movement marks on the underside of the base that is commensurable with age. Please refer to photographs as they form part of the condition report. The underside of the base bears Licio Zanetti's signature 'Zanetti L'. 

MEASUREMENTS
c. 17.7" / 45 cm in height x 13.7" / 35 cm width from beak to tail. Base diameter: 3.9" / 10 cm. Unpackaged weight: c. 2.3 kg / 2,259 g

NOTES
Sculpture will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

THE ITEM
This beautiful work of Scandinavian Modernist design is by Pentti Sarpaneva (b.1925 - d. 1978) Finnish jewellery and decorative designer. This piece was produced by Oy Kumela glassworks for jewellers Torun Hopea. 

Sarpaneva's style was influenced by elements of the rugged Finnish landscape, casting textures from materials such as tree bark and rock. Other inspirations included traditional Finnish lace and the metals he worked with. 

The design of this piece encapsulates much of Sarpaneva's style, his inspirations and the Modernist design influences of the time. The Cornflower blue glass surface shows off a number of textured and angular circular and semi-circular reliefs. The piece is finished with the silver collar that is decorated in Sarpaneva's rugged lace design that can be found in his jewellery designs. However, the collar being cast in silver is a rare find as this series of vases is typically found with a bronze collar. 

CONDITION

Very Good, no chips, cracks or repairs to the glass, there is patinated wear and marring to the silver that is commensurate with the age of the piece - please see photos as part of the condition report. 
The underside of the base is signed 'Pentti Sarpaneva' and 'Oy Kumela' and bears the original silver label 'Turun Hopea, Made in Finland'. The silver collar is also marked with '830' representing the purity of the silver and 'T7' which denotes the year 1972. 

MEASUREMENTS
Height: c. 3.1" / 8 cm tall x c. 2.8" / 7.2 cm length x c. 2.8" / 7.2 cm width. Unpackaged weight: c. 0.4 kg / 368 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY

Pentti Sarpaneva (b.1925 - d. 1978)  Sarpaneva trained in graphic
design, at the Institute of Industrial Art and following the war, began his design career in the late 1950s. He designed for Kalevala Koru Oy and later in 1967, he became artistic director for Turun Hopea, remaining there until his death. 

Unique amongst his contemporaries, Sarpaneva would cast his designs straight from nature and the man-made environment, often using rocks and tree bark, as well as discarded rope and lace. During the height of his career, he was known for producing emotive, avant-garde, bold and eccentric designs. 

THE ITEM
The 'Kluk Kluk' carafe has become a well-recognised design for Kastrup and Holmegaard glass, it is said that it became known as the Kluk Kluk or 'Cluck Cluck' decanter due to the distinctive sound made when pouring. Just as Gaudi was infamous for creating his designs to become as fitting to the human form as possible, this decanter was designed with a 'pinched waist', making it easy to maintain a grip when in use.

The quality of the glass is evident throughout the lithe yet sturdy form.

CONDITION

Excellent, no damage or evidence of use, there is light wear (such as movement marks on the base of the decanter) which is commensurable with age. Please see photos as part of the condition report.

MEASUREMENTS 
Per decanter: Height: c. 8.1" / 20.5 cm tall (without stopper) and c. 9.4" / 24 cm tall (with stopper)
Per decanter: Width: 3.3" / 8.5 cm wide (across the base)

Unpackaged weight (both decanters): c. 1.2 kg / 1,228 g

NOTES
Decanters will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY

Holmegaard was founded in 1823 after Count Christian Danneskjold-Samsøe petitioned the Danish king for permission to build a glassworks. He died before permission was granted. However, when permission was finally received in 1825, his widow Countess Henriette Danneskjold-Samsøe pursued the project and began production. Much of Holmegaards early work was regarded as derivative and inconsequential, but between the 1930s and 1980s, it was transformed by the designs of Jacob E. Bang (1899-1965), Per Lütken (1916-98), and Bang's son, Michael (1944-2002). Today the company is known for its high-quality products of Danish design.

Jacob E Bang (1899 - 1965) is known as Denmark’s first industrial designer and the creator of functionalism in Danish glass. Graduating from the Royal Danish Academy of Fine Arts in 1921 as an architect, he began his career Kay Fisker’s design studio.

Jacob E. Bang’s glass design, which was popular and virtuosic, achieved great recognition and popularity, and today many of his works have become style icons and collectables. He believed his designs should be beautiful, strong and practical.

Bang was one of the few Danish designers of the time and won several medals at world exhibitions; Barcelona in 1929, Brussels in 1935, Paris in 1937 and New York 1939. From 1957-65, he was the artistic director of Kastrup Glassworks.

THE ITEM
This fantastical Art Deco stag sculpture is handmade from lampworked glass by master glass sculptor Istvan Komaromy (b.1910 - d.1975). Described as the 'Michelangelo of glass', Komaromy numbered royal families, amongst those who collected and commissioned his work.

Komaromy produced his work by hand without the use of assistants and all of his glass pieces were made using a Bunsen burner to transform solid or tubular coloured, or opaque glass rods into the most delicate shapes. A short clip of his exceptional talent at work can be seen in the archives of the British Pathe website: Istvan Komaromy - Blow Pipe Art! 1935

This elysian piece presents the stag as balancing on a black glass ball, a characteristic common to Komaromy's pieces produced in the 1950s, as is the mounting of the piece to the marble plinth. The arched, sculpted curves and stylised contours bring elegance on many levels, from the form and posture of the overall piece to details such as the delicate eyes, horns and tail. The glass itself is a blend of opaque pale blue, translucent opalescent and hairline swirls of charcoal grey, giving an overall effect of marble. 

Note: accompanying this piece is also an original brochure.

CONDITION
Excellent. No chips, cracks or repairs. Please refer to photos as they form part of the condition report. The underside of the base is lined with protective felt. 

MEASUREMENTS
Height: c. 9.6" /  24.5 cm tall (from horns to plinth base) x c. 4.9" /  12.5 cm width (from nose to tail). Base measurements: c. 2.9" / 7.5 cm x c. 2.9" / 7.3 cm

A BIT OF HISTORY
Komaromy was born in Dusseldorf, Germany in 1910 but grew up in Budapest studying science at the university. He began making scientific glassware to sell to his fellow students for additional income, which led him to experiment with creating artistic Art Deco pieces. Komaromy showed some of his glass pieces to his University professor, who was so impressed that he persuaded Istvan to give up his scientific studies and become a glass artist. He arranged sponsorship so that Komaromy could travel to major exhibitions around Europe, at which the young glass artist was successful in winning a number of gold and silver medals (the estimate is as many as 16).

By 1935 he was visiting Britain as a celebrity artist, giving demonstrations all over the country including venues specialising in high-quality glassware, such as Harrods in London. He was featured on British Pathe News that year, making a beautiful glass figurine - a 'dancer' - and also a statue of the cameraman filming him. The short film entitled 'Istvan Komaromy - Blow Pipe Art! 1935' can be found in Pathe News archives on their website.

Komaromy would eventually move to London in 1937 and in 1939, he set up his glassworks in Croydon. He numbered several Royal families amongst those who collected and commissioned his work. In 1953 he made a leaping stag and two does on a wooden stand, known as 'The Leader' for Queen Elizabeth's coronation. It is thought that the Queen collected a number of Komaromy's pieces. Although famous for his 'dancers' - which were popular items and sold very well in specialist glass outlets, he also sculpted other classical figures, animals such as does, stags and horses. His range extended to candelabras, goblets and decanters, vases, abstract forms and complicated figure studies. He used over 200 kinds of glass, often manufactured by Pilkington's to his own recipes.

During his lifetime Komaromy frequently featured on television and radio and in art magazines; his work is held in the archives of the Victoria and Albert Museum, London and in the Pilkington's Museum of Glass, as well as in the Museum for Applied Arts in Budapest, Hungary.

THE ITEM
This subtly glamorous piece comes to you as a combination from many worlds, the ruffle neck rim and white milk glass, this is cased in a clear glass within which slices of turquoise blue glass has been incorporated, and as a finishing touch, trails of clear yellow glass has been applied all around the body.

Despite the indications of age, the colours and design is timeless and can easily adapt to a retro or modernistic room. I feel this is a sunny, playful yet elegant piece, with hints of a Summers day which has a cool light breeze and this is what it could bring to brighten up any room in need of these elements.

A BIT OF HISTORY
Unfortunately it's not been possible to track down the provenance of this piece, however, there are various qualities to the glass that can help direct us approximately.

The ruffle neck rim, the use of the white milk glass, the colour palette of the yellow and the turquoise and the inverted coarse pontil mark are all indicators of glass that was made during the victorian era.

As for the use of a somewhat primitive version of the Sommerso technique, it is relatively well known that the italian glass submersion Sommerso technique was invented until around the 1930s, however, that doesn't mean that glass artists before that time didn't experiment and innovate.
This piece appears to be one of those such pieces of creative experimentation and innovation.

CONDITION
Excellent, no chips scratches or cracks to the body of the vase, the base bears a chip to the edge of the pontil mark (A variable size type of scar or roughage left on the base by a pontil 'glassblowers' rod. ) which is completely not visible when the vase is upright, please see photos as part of the condition report.

MEASUREMENTS
c. 14" / 35 cm tall (from base to rim tip) x 6" / 15 cm wide (across body's widest point)

Unpackaged weight: c. 1.3 kg / 1,348 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.