Bohemian Art Nouveau
~ 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.
Bohemian Art Nouveau
Iridescent Art-Glass Flower Vase
- 1900 -
Dimensions: H – 16.75” W – 11.75” D – 8.5”
A superior example of Jugendstil ~ Art Nouveau art-glass object, this grand in scale, museum quality flower vase was made by Loetz, Klostermühle (Bohemia), circa 1900.
The 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 blue-green with the color of the old green patina, covered with craquelure; against the background of iridescent violet.
The vase is framed by outstandingly designed and stunningly manufactured bronzed & patinated pewter mounting, consisting of an almost geometric-form simple large handles; with one wreath of leaves, crowning the neck; and the second, forming a vase base of a free rounded lines.
The simplicity of the forms both, the glass vessel and most unusual metal frame are generating extremely interesting Jugendstil ~ Art Nouveau decorative effects.
There is no damage or repairs.
Turquoise & Black Bar
Art Glass Sculpture
Process: Kiln and Lamp worked glass, aluminum, silicone adhesive
Dimensions: Height: 11 inches Width: 12.75 inches Depth: 12.75 inches
·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
French Art Nouveau
~ Perfume Bottle ~
Etched & Hand-Engraved Crystal and Silver Repose
Body Lotion or Bath Salt Jar
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.
Mid-Century Italian Modernism
Venetian Murano Art Glass
- Bud Vase -
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.
Height: 4 3/4 inches Length: 8 1/2 inches Depth: 6 1/2 inches
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.