Ventill Electric Fan made of hard plastic/Bakelite, in Hungary, in 1978. The aerodynamic shape is specific for the design of the Space Age Era. The piece is in very good vintage condition and in full working order.
The Space Age is a time period encompassing the activities related to the Space Race, space exploration, space technology, and the cultural developments influenced by these events. The Space Age is generally considered to have begun with Sputnik (1957). During the 1950s, architecture, furniture, interior design, cars, and gadget design took on a curiously spaceflight-inspired aesthetic.
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A hand bag, also purse or pouch in North American English, is a handled medium-to-large bag that is often fashionably designed, often used by women, to hold personal items.
The term “purse” originally referred to a small bag for holding coins. In British English, it is still used to refer to a small coin bag. A “handbag” is a larger accessory that holds objects beyond currency, such as personal items. American English typically uses the terms purse and handbag interchangeably. The term handbag began appearing in the early 1900s. Initially, it was most often used to refer to men’s hand-luggage. Women’s bags grew larger and more complex during this period, and the term was attached to the accessory. Handbags are valued for their stylishness as visual accessories as well as for their function.
The verb “to handbag” derives from UK prime minister Margaret Thatcher’s habit of pulling scraps of paper out of her handbag in meetings and reading aloud the comments she had written on them. The verb’s more general meaning of “treating ruthlessly” came to symbolise Thatcher’s whole style of government. Julian Critchley, one of her biggest Tory backbench critics, once said, “Margaret Thatcher and her handbag is the same as Winston Churchill and his cigar.”
Early modern Europeans wore purses for one sole purpose: to carry coins. Purses were made of soft fabric or leather and were worn by men as often as ladies; the Scottish sporran is a survival of this custom. In the 17th century, young girls were taught embroidery as a necessary skill for marriage; this also helped them make very beautiful handbags. By the late 18th century, fashions in Europe were moving towards a slender shape for these accessories, inspired by the silhouettes of Ancient Greece and Rome. Women wanted purses that would not be bulky or untidy in appearance, so reticules were designed. Reticules were made of fine fabrics like silk and velvet, carried with wrist straps. First becoming popular in France, they crossed over into Britain, where they became known as “indispensables.” Men, however, did not adopt the trend. They used purses and pockets, which became popular in men’s trousers.
The modern purse, clutch, pouch or handbag came about in England during the Industrial Revolution, in part due to the increase in travel by railway. In 1841 the Doncaster industrialist and confectionery entrepreneur Samuel Parkinson (of butterscotch fame) ordered a set of travelling cases and trunks and insisted on a travelling case or bag for his wife’s particulars after noticing that her purse was too small and made from material that would not withstand the journey. He stipulated that he wanted various handbags for his wife, varying in size for different occasions and asked that they be made from the same leather that was being used for his cases and trunks to distinguish them from the then-familiar carpetbag and other travelers’ cloth bags used by members of the popular classes. H. J. Cave (London) obliged and produced the first modern set of luxury handbags, as we would recognize them today, including a clutch and a tote (named as ‘ladies travelling case’). These are now on display in the Museum of Bags and Purses in Amsterdam. H. J. Cave did continue to sell and advertise the handbags, but many critics said that women did not need them and that bags of such size and heavy material would ‘break the backs of ladies.’ H. J. Cave ceased to promote the bags after 1865, concentrating on trunks instead, although they continued to make the odd handbag for royalty, celebrities or to celebrate special occasions, the Queen’s 2012 Diamond Jubilee being the most recent. However, H.J. Cave resumed handbag production in 2010
Spectacular Murano sommerso vase for one flower (soliflore) in shades of red (the interior layer), yellow (the median layer) and blue (the outer layer). Because of its shape, this type of vase is also known as “Teardrop”. The piece is made in the 1960s and is kept in very good condition, showing no visible deterioration. It has its original label.
When thinking of Murano glass, it is highly unlikely that we think of sand, yet this rare material is at the base of all glass production. Glass is firstly a mix of siliceous sand, soda, lime and potassium, which is put to melt inside an oven at a temperature of around 1.500 Celsius. After it has become flexible enough, it is removed with a pipe that will be used to blow the glass out while the glassmaker shapes and models it. The forms and colors given to each piece depend on the tools and chemicals used during its production. The techniques are also important..
One of the most common techniques is “Sommerso”, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colors) inside a single object, giving the illusion of “immersed” colors that lay on top of each other without mixing. This is done by uniting different layers of glass through heat and repeatedly immersing them in pots of molten colored glass. This technique is quite recognizable: it is characterized by an outer layer of colorless glass and thick layers of colored glass inside it, as if a big drop of color had been captured inside the transparent glass. When one first sees these objects, it seems almost impossible to conceive such beautiful colors being locked so perfectly inside what would seem solid glass, and then undoubtedly one begins to wonder how ever did they manage to achieve such a complex game of shapes and colors right in the middle of a clear glass object.
Beautiful controlled bubbles (bullicante) Murano ashtray made of glass. Hand blown, this piece displays a nice chromatic effect and goes from dark green (to the rim) to clear white (at the bottom).
The quality and tradition that characterize Murano’s finest glass furnaces have always been worthy of the highest appreciation. This prestige is due mostly to the glass masters’ hard work and dedication, which are the very core of Murano’s most famous trade. Glassmaking has been passed on from one generation to the next one, with constant innovations and timeless originality. The loyalty and respect with which this trade is treated is possibly the key to Murano’s success. Glass masters all over the island have always worked with endless vitality, and this creative vein is evident in every glass artwork that comes out of any furnace, with improved techniques and bewildering effects.
The “bullicante” effect is amongst the most famous glass making techniques and it is seen quite often around the island of Murano. If you’ve had the fortune of strolling along the streets of Venice, you would have noticed beautiful glass pieces with small air bubbles trapped in the inside, possibly stopping to wonder how that seemingly impossible effect is achieved. This peculiar effect is obtained by placing a piece of molten glass inside a metallic mold with spikes, very much resembling a pineapple’s texture. These spikes cause small holes on the surface creating a pattern all around the glass piece. After it’s been left to cool down for a few moments, the whole piece is submerged in molten glass again. This second layer completely covers the first one. However, thanks to the thick consistency of glass, the holes previously impressed on the first layer are not covered, thus causing air to be trapped between both layers of glass. This process can be repeated several times, creating a pattern as complicated as the glass master wishes. This technique gives not only a sense of depth to the whole object, but also an incomparable decorative effect, famous for its originality.
Selandia was designed by Per Lütken in the spring of 1957. The dish was fashioned by hand, and its shape is created when the glass blower carefully turns, raises and lowers the hot glass. The visual softness contained in the glass at 1400 degrees Celsius can be seen directly in the cooled, transparent version of the dish. The dish is decorated by engraving/glass cutting. Identified and dated on the bottom, “Holmegaard 19PL59” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year).
Aqua Askebæger designed by Per Lütken for Holmegaard. This model is part of the Akva series, which was a huge success and remained in production for more than two decades between 1953 and 1974. Signed, identified and dated on the bottom, “Holmegaard 19PL56” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year). Has a small chip on the rim and some age-related marks. However, all in all it is in a good vintage condition. A rare piece made from hand-blown glass. The Akva series includes items sold under different trade marks and line names: Askebaeger, Dukling, Fiona, Hellas, Lysestage, Menuet, Rondo, Selandia, Thule, Umanak, Surf etc.