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.
If your delivery address is not in the European Union, Iceland, Liechtenstein, Norway, or Switzerland, please be advised that import duty is not included in the prices you see online
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
Aqua bowl 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 and identified on the bottom, “HOLMEGAARD PL”. Also on bottom has the production number, 15737. 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 crystal (just a small part of this series was made from crystal and not from 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.
Spectacular crystal ashtray signed by Daum Nancy and made in France, in the 1960s. The translucent emerald color and the flower-shaped line give this piece a refined, elegant and discreet look. It’s signed on the bottom “Daun Nancy” – Cross of Lorraine – “France”, in the typical manner of this famous manufacturer. Also retains the label of the first crystal shop that sold it: “Cristallerie Moser-Millot Paris 30 Bd. Des Italiens”. Is in a very good condition, with minimal age related signs.
Daum Nancy rose to prominence during the Art Nouveau and Art Deco period, and captured the imagination of collectors all over the world. Let us take a quick look at the interesting events that shaped the company. Jean Daum was a notary from Bitche who had lent some money to the proprietors of a glass factory in Nancy, the capital town of the French region of Lorraine. The glassworks was then named “Verrerie Sainte Catherine”. In 1878, Daum took over the factory when its erstwhile owners were unable to pay off their debt and renamed it “Verrerie de Nancy”. The factory initially produced glassware such as drinking glasses and pitchers and then ventured into artistic glass manufacturing in 1891. After Daum’s death in 1885, his son Auguste Daum took over the control of the company in the year 1890. The Daum brothers exhibited their “Handsome Tavern Glass” at the Paris International Exhibition in 1889. This event was of utmost significance because it marked the birth of the French Art Nouveau movement. Daum received his first “Grand Prix” in 1900 because by then his factory had established its name as a producer of high quality glass. By 1903, Daum had started making vitrified vases. These vases are singularly responsible for the kind of fame the company acquired in the early 1900s. In 1906 Daum began the manufacture of pâte-de-verre, a glass-making technique first used over five thousand years ago in the early world.
In order to understand the collector’s interest in Daum Nancy objects, one must realize that this company has shaped itself up to become a producer of glass art objects and not simple glassworks. It pioneered and revolutionized old techniques by working with colour powders, acids, enamel and fluorine hydrogen. From the early 1900s emphasis was placed upon ornamental motifs in naturalistic forms. When Galle died in 1904, the Daum brothers became the leaders in the field of decorative glass and their dominance lasted for one productive, golden decade.
Beautiful smoky ashtray designed by Per Lütken for Holmegaard (although it can also be used as a bowl for peanuts or candies). Signed, identified and dated on the bottom, “Holmegaard 19PL57” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year).
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.