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  Flavio Poli / Seguso Vetri d’Arte Brown Murano Art glass vase c. 1950’s

  FLAVIO POLI (1900-1984) Italy
  SEGUSO VETRI D’ARTE Italy

  Vase c. 1950’s

  Asymmetric vase in a dark brown Murano glass cased inside with a layer of pale green and clear glass

  H: 10 1/2″ x W: 5 1/2″ x D: 2 3/4″

  Price: $4,000

  Designer, businessman, ceramic artist. Born in Chioggia, he attended the Istituto d’Arte di Venezia and began work as a designer in ceramics. in 1929 he switched to glass and for Libero Vitali’s I.V.A.M. he designed animals, splendid Novecento-style nude figures in massiccio glass, as well as bowls and urns with figures resting on the inside, on lids or as handles. He subsequently collaborated with the Compagnia di Venezia e Murano, with the furnace of Mario and Lino Nason and with the engraver Gino Francesconi. in 1934 he accepted the artistic direction of Barovier, Seguso & Ferro, later to become Seguso Vetri d’Arte, and became partner three years later. Together with the master of the principal team Archimede Seguso, Poli was the author of grandiose lighting installations, of corroded vessels, of sculptures in bulicante glass, of animals in massiccio glass shaped while hot, productions which represented a milestone in the development of Murano glass. At the height of his artistic maturity, in the years between 1950 and 1960 he designed a series of sommerso glass pieces in a Nordic style, essential forms and sharp cold colors, which were awarded prestigious prizes (Compasso d’Oro). After leaving Seguso in 1963, between 1964 and 1966 he organized the artistic glass division at the Societˆ Veneziana di Conterie e Cristallerie.

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  Flavio Poli / Seguso Vetri d’Arte Murano Mid-Century Modern art glass vase c. 1950’s

  FLAVIO POLI (1900-1984) Italy
  SEGUSO VETRI D’ARTE Italy

  Vase c. 1950’s

  Blue and clear Murano glass

  H: 10″ x D: 3″ x W: 4 1/2″

  Price: $1,850

  Designer, businessman, ceramic artist. Born in Chioggia, he attended the Istituto d’Arte di Venezia and began work as a designer in ceramics. in 1929 he switched to glass and for Libero Vitali’s I.V.A.M. he designed animals, splendid Novecento-style nude figures in massiccio glass, as well as bowls and urns with figures resting on the inside, on lids or as handles. He subsequently collaborated with the Compagnia di Venezia e Murano, with the furnace of Mario and Lino Nason and with the engraver Gino Francesconi. in 1934 he accepted the artistic direction of Barovier, Seguso & Ferro, later to become Seguso Vetri d’Arte, and became partner three years later. Together with the master of the principal team Archimede Seguso, Poli was the author of grandiose lighting installations, of corroded vessels, of sculptures in bulicante glass, of animals in massiccio glass shaped while hot, productions which represented a milestone in the development of Murano glass. At the height of his artistic maturity, in the years between 1950 and 1960 he designed a series of sommerso glass pieces in a Nordic style, essential forms and sharp cold colors, which were awarded prestigious prizes (Compasso d’Oro). After leaving Seguso in 1963, between 1964 and 1966 he organized the artistic glass division at the Societˆ Veneziana di Conterie e Cristallerie.

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  Mitsukoshi Japan / Early Showa Period Silver Vase c. 1925-30

  MITSUKOSHI   Japan
  EARLY SHOWA PERIOD (1926-1989)  Japan

  Vase  c. 1925-30

  Silver with repoussé blossoms and leaves on a bulbous form with collar

  Marks: Mitsukoshi (Japanese characters)

  H: 6” x D: 9 1/2”

  SOLD

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  Gustavo Perez, Mexican Contemporary Pottery, Ceramic vase 2000

  GUSTAVO PEREZ Mexico

  Stoneware vase 2000

  Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail

  Signed: GP 2000-68

  H: 9 1/4″ x D: 6 1/2″

  Price: $5,500

  Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.

  Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.

  The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.