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Set of two opaline cups made in Belgium, in the 1970s
Set of two opaline cups made in Belgium, in the 1970s
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Set of two beautiful ice cream (or sherbet) cups made of glass and opaline and produced in Belgium, in the 1970s. Colored in bright vivid orange, this cups features the Atomic Age aesthetics. The cups are in very good vintage shape.
Atomic Age in design refers to the period roughly corresponding to 1940–1960 and extending in the 1970s, when concerns about nuclear war dominated Western society during the Cold War. The discovery and development of the Electron microscope had also a huge impact. Architecture, industrial design, commercial design (including advertising), interior design, and fine arts were all influenced by the themes of atomic science, as well as the Space Age, which coincided with that period. Atomic Age design became popular and instantly recognizable, with a use of atomic motifs and space age symbols. Retrofuturism is a current resurgence of interest in Atomic Age design.
Free-form organic shapes also appear as a recurring theme in Atomic Age design, reflecting x-ray technology that was becoming more widespread and familiar in pop culture. These botanic designs influenced later Atomic Age patterns that included repeating organic shapes similar to cells and organisms viewed through a microscope. Vital forms, or abstract organic forms, were identified as a core motif.
Spectacular Murano cigar ashtray made of glass. The piece is distinguished by its fluid shapes, by the fine quality of the glass, as well as by its intense and extremely beautiful ruby red color. Hand blown, this piece is kept in very good vintage condition.
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.
Beautiful Akva surf ashtray designed by Per Lütken for Holmegaard (although it can also be used as a bowl for peanuts or candies). 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 19PL53” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year). 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. Being dated 1953 this vase was produced in the inaugural year of this series.
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
The term “opaline” in current times refers to many forms of opaque and colored glass. In France the term is used to refer to multiple types of glass and not specifically antique colored crystal or semi-crystal. The idea that the term is strictly antique French crystal is incorrect. For instance when shopping in France you may see a piece of American slag glass for sale labeled in reference to the color of glass and not the age, origin or content of the glass.
Opaline glass is also a decorative style of glass made in France from 1800 to the 1890s, though it reached its peak of popularity during the reign of Napoleon III in the 1850s and 1860s. The glass is opaque or slightly translucent, and can appear either white or brightly colored in shades of green, blue, pink, black, lavender and yellow. The glass has a high lead content which defined it as “demi-crystal” or semi-crystal. The primary influences on this style of glass were 16th century Venetian milk glass, and English white glass produced in 18th century Bristol.
Many different pieces were produced in opaline glass, including vases, bowls, cups, coupes, decanters, perfume bottles, boxes, clocks and other implements. The popularity of glass began during the reign of Napoleon. Cities involved in the production included Le Creusot, Baccarat, and Saint-Louis, Réunion, as well as various locations in England.
All glass is hand-blown and has a rough or polished pontil on the bottom. There are no seams and no machine engraving. Many pieces of opaline glass are decorated with gilding. Some with handpainted flowers or birds. Several have bronze ormolu mounts, rims, hinges or holders. Real opaline glass was produced only in France. In the 20th century Italy produced a similar glass and called it opaline veritable.
Most all opaline glass is not branded or signed.
Portieux Vallerysthal made lots of robin’s egg blue glass they call . This was produced later and in much greater quantity and is not nearly as rare or valuable.
The two best references for French Opaline Glass are Les by Christine Vincendeau and L’Opaline française au XIXe siècle by Yolande Amic. Both are in French.
Beautiful Murano sommerso vase in red and blue. The piece is made in the 1960s and is kept in very good condition, showing no visible deterioration.
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.
Spectacular and very rare Luxor Swiss table clock made in the 1940s. This golden clock is an exponent of Art Deco aesthetics: supple and elegant lines, geometric shape, some decorative elements (the twisted little bar at the top). This is a 8 days mechanical clock with alarm (it has to be manually winded once a week to operate). It is in very good condition with only small age-related traces. Luxor clocks are highly prized by collectors around the world, both for their mechanism and aspect.
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.
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).