ANNONE Sculpture by GAMBARO E TAGLIAPIETRA
Two traditions within a single sculpture: this piece is a wonderful specimen of Murano glass elephant, featuring gold leaf and murrine.
Ancient glass art, expressed in the composition of millefiori murrine within the pachyderm's legs, meets the traditional image of the animal with its trunk raised, which is said to bring good fortune to the household that adopts it.
The elephant is the largest and strongest land animal on earth; its role as a good-luck charm originates from Asia, where it is considered a divine animal of good omen.
The owner of an elephant is lucky indeed!
GAMBARO & TAGLIAPIETRA Srl MURANO GLASS STUDIO
Gambaro & Tagliapietra srl Glass Company is born as an evolution of a famous and historic Murano glass furnace, Vetreria Artistica Gambaro & Poggi Glass Company.It was founded in 1974 by Mario Gambaro and Bruno Poggi.
Their company soon became popular for their refined products and their new stiles and shapes.
Gambaro & Poggi has exalted the traditional Murano Glass techniques, and has experimented with new ones, to make its objects modern and in line with the times. Following this perspective of innovation, after the retirement of Mario, the furnace has now become Gambaro e Tagliapietra Srl Murano Glass Studio. His heirs and the young glass master Matteo Tagliapietra, are there to continue a 40 years old history, with a new innovative spirit and the same passion of everyday.
Every piece is expertly made by hand, controlled, authenticated by master Matteo Tagliapietra’s signature engraved on it, and it comes with stickers and warranty certificates which give details of its quality and origin.
Gambaro & Tagliapietra Srl is associated to Consorzio Promovetro, which comprehends leading artisan companies, specialised in this traditional handmade production, and respecting the high quality Murano Glass standards. It is also licensee of the Vetro Artistico® Murano trademark (code number 022), given by the Regione del Veneto only to the glass companies of the island of Murano.
Manufacturing of solid glass started being used on the island of Murano starting in the 1930's. This technique involves shaping a large and heavy mass of molten glass, supported by a solid metal rod, using the same tools as with blown glass. The objects take shape in the master's hands through expertly precise movemente. Solid glass working is mainly used to produce sculptures of all sizes.
"MURRINO" GLASS or HOT-WORKED MOSAIC
The hot-worked glass mosaic is based upon glass canes; they are produced in very few furnaces, due to the complexity of its manufacturing.
The master picks up a cylindrical mass of molten glass (the "paston") with the cane-making rod, and joins it to a smaller blob (the "conzaura") attached to a short rod. He then hands over one of the rods to his assistant, then they slowly walk away from each other lengthening the glass rope.
As the glass quickly cools, they carefully set down the hardened cane onto rough wooden boards on the floor. The evenness of the cane depends exclusively on the superior craftsmanship of the master. A special type of cane is called "millefiori"; it is a hollow or solid cane composed of concentric multicoloured layers which, in cross-section, form a typical star- or flower-shaped pattern.
These canes are produced by filling open moulds in succession, creating each pattern by layers of different-coloured glass. The finished cane is used by cutting into small segments and arranged onto a horizontal metallic plate, coated with purified lagoon-marsh mud -- this is the only substance able to isolate melting glass from metal. The arrangement is melted inside an oven and picked up for further processing, usually blowing and shaping with tongs. It is this initial procedure that determines the pattern and size of the object, whether one uses solid canes, geometric plates, filigree or aventurine, and creates an infinite variety of unique products.
GOLD OR SILVER LEAF
Precious metal leaves are extremely thin sheets of metal, usually made of pure gold or silver. In glassmaking, the imperceptibly light leaves need to be kept in a sheltered area of the furnace workshop, as even a breath might blow them away.
The gold or silver leaf is gently arranged on a flat surface by the master, who then rolls the incandescent blob over the leaf to pick it up; the metal leaf adheres perfectly to the surface of the glass, which is now ready to be blown. Upon blowing, the sheet of precious metal splits to spread over the entire surface of the glass object.
The final product therefore appears to be covered in a fine gold or silver dust.