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COD: 022/1581/AO

Vase with gold leaf and Murano glass violet filaments, from the “Maori serie oro” collection.

Mark of Origin

n. 022

Lievi differenze sul colore sono tipiche di una lavorazione artigianale e ne costituiscono un pregio
Availability: ships in 3/4 weeks
Dimensions: diameter 9.06 x H 12.6"
Weight: 6.61 lb
$ 670.00


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The “Maori” collection includes a series of products made with so-called “Phoenician” glass. The crystal glass incorporates an explosion of gold particles and spectacular white filaments: the resulting composition is spectacular. The harmony and curviness of the decorative lines remind of the tattoos of Maori tribes: the designs are expanded to an infinite pattern. The effect in this collection is incredible, especially considering that these breathtaking objects are entirely handmade. This vase, with edges open towards the outside, is a wonderful enhancement for any room it is placed in.



The company "Vetreria Artistica Gambaro & Poggi" was founded in 1974 by two master glassmakers: Mario Gambaro and Bruno Poggi. Born and raised in Murano, they both started working in furnaces from a very young age, developing outstanding qualities.

Their apprenticeship took place in the shadow of the great masters, such as Archimede Seguso and Alfredo Barbini, in high-caliber furnaces like Seguso Vetri d'Arte, Vincenzo Nason and Barovier & Toso.

Gambaro & Poggi is distinguished for its collection of art glass products of classic manufacturing design: big and small masterpieces of high artistic craftsmanship, ranging from classic objects such as glasses, vases, plates, animals and sculptures, just to name a few, to true collector's items made in exclusive limited editions.

While celebrating the typical Murano glass techniques, Gambaro & Poggi has experimented in keeping its objects and creations always current and in step with the times. In 1985, Luciano Gambaro entered the company.



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.


The "fenicio" (Phoenician) technique is performed by wrapping a glass filament in a spiral on the blown glass. This filament is then reheated near the mouth of the oven, and pulled with special tongs and a hook tool to obtain a series of arching decorations, more or less closely packed. This motif dates back to the 1600's.


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.

Project developed with the
support of the Venice Chamber
of Commerce

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