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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.
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.
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.
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.
Famous magnetic Ball wall lamp designed by Benny Frandsen in the late 1960s, the lamp that led to the founding of the ABO Randers A/S company. It is in a very good shape, with only small age-related traces. This wall light enroll in both the Scandinavian Modern and Space Race aesthetics, being an icon of European design in the second half of the 20th century.
Benny Frandsen (b. 1941, named after jazz-clarinetist Benny Goodman) is a Danish designer and lighting producer. He was educated as an electronics engineer but his passion was to design light. By 1966, he had already designed some lamps for a discotheque, and then Frandsen tried to convince his boss to start a lighting production, but no luck. Afterwards, Benny Frandsen established Frandsen Lamps in 1968, by himself, and was located in his home in Skanderborg in Jutland. He designed geometric lamps, but the business was slow. Frandsen discovered that, the Danes wanted round lamps and not geometric lamps, so he began designing a round light instead. Here emerges the ultimate round lamp, a ball that was attached to a wall bracket with a magnet. This was a game changer for Frandsen. Everybody wanted the Ball wall lamp with magnet. Since then, there has been made many variations of this Ball lamp. In 1972, Frandsen starts a factory in Skanderborg, to keep up with the many requests. But by 1993 the company is sold to the Frits Concern, whom merges the lighting production with Lyskilde. This led to Frandsen winning the role of the director, under the new company name, Frandsen Lyskilde. Eventually Benny Frandsen buys the company back in 1996, as the Frits Concern closes, and reestablishes Frandsen Lighting.
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).
The "Arkipelago" candlesticks, designed by Timo Sarpaneva for Iittala, were produced in different sizes and were created from the very beginning to be collected. Precisely to give them a high degree of preciousness, the glass is hand-molded.
Timo Tapani Sarpaneva (31 October 1926 – 6 October 2006) was an influential Finnish designer, sculptor, and educator best known in the art world for innovative work in glass, which often merged attributes of display art objects with utilitarian designations. While glass remained his most commonly addressed medium, he worked with metal, wood, textiles, and porcelain (china). Sarpaneva has entered homes around the world through his industrial design of upscale, artistically conceived items, including cast-iron cookware and porcelain dinnerware. His work was among the key components that helped to launch Finland's reputation as a trailblazer of design. Sarpaneva's first international recognition in glass work came with a Grand Prix from the Milan Triennale in 1954 that included Sarpaneva's series Orkidea ("Orchid"), Kajakki ("Kayak"), and Lansetti ("Lancet") adopted for production by Iittala.
Iittala, founded as a glassworks in 1881, is a Finnish design brand specialising in design objects, tableware and cookware. Iittala's official i-logo was designed by Timo Sarpaneva in 1956. Iittala has strong design roots in glasswares and art glass which can be seen in, for example, the early designs of Aino Aalto glasses designed by Aino Aalto in 1932; Alvar Aalto’s Savoy Vase (Aalto Vase) from 1936; Oiva Toikka’s Birds by Toikka glass birds collection that has been made since 1962, his glassware set Kastehelmi from 1964 and Tapio Wirkkala’s glasses Ultima Thule from 1968. Iittala is the world's most famous glass company in the whole world. Over time, Iittala has expanded from glass to other materials, such as ceramics and metal while keeping with their key philosophy of progressive elegant and timeless design, such as Kaj Franck’s Teema ceramic tableware from 1952 and Timo Sarpaneva’s cast iron pot Sarpaneva from 1960. Iittala focuses on timeless design which can be seen not only in older creations but in the modern classics such as cookware Tools designed by Björn Dahlström in 1998 and Heikki Orvola’s Kivi candleholders from 1988.