Cactus in Iridescent Smoke Vamsa attributed to Napoleone Martinuzzi Murano, 1930s, Set of 2

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Pair of two glass cacti with iridescent smoke finish. This design is a classic by napoleone martinuzzi. Update: a leaf … Read more Pair of two glass cacti with iridescent smoke finish. This design is a classic by napoleone martinuzzi. Update: a leaf on the large cactus broke off and was glued together. The new price reflects this situation. Napoleone martinuzzi's career includes six years at venini, followed by nine years of collaboration with zecchin martinuzzi. Eventually the company was acquired by seguso and several masters were involved in making martinuzzi's pieces, including venini, seguso and barbini at vamsa. In recent years martinuzzi has also collaborated with pauly. An he is also a well-known sculptor of the 20th century. Zecchin martinuzzi introduced this series of succulent designs in the 1930s, which were produced under several brands, including venini, zecchin, seguso, pauly and vamsa furnace. One of the skilled masters who replicated his creations was the young alfredo barbini. This piece in particular is attributed to the production vamsa, the company that also hosted alfredo barbini. Cambi has a similar piece, while venini's production is typically characterized by bubbled pulegoso glass. As for the color of the fumes, it is a very ancient technique that originated when the furnaces worked with wood fires. The partial combustion of the wood generated smoke inside the crucible and the carbon residues in the molten glass gave rise to a light amber hue, similar to that which can be observed in 17th century chandeliers. Barovier's "crystal" formula solved this staining problem, making the smoke a distinct finish. Obtaining this color is similar to the japanese raku technique, which involves reducing the oxygen supply, causing the fire to produce a reducing smoke (or "smoke" in italian). This technique was further refined by working with other colors, and metal oxides in a reducing atmosphere often produced an iridescent coating. Today it is difficult to replicate this technique purely through the combustion of natural gas, making it a characteristic element of antique pieces. This item lacks labels, signatures and information on origin and decade of production. It is awarded based on its style and exceptional craftsmanship, and its beauty is the main judging criterion. The measurements listed refer to the larger one on the left. Here both measurements left dia 24 cm h 25.5 cm right dia 23 cm h. 23 cm references: vetri soffiati muranesi venini & c. (1925-1931) zecchin & martinuzzi vetri artistici e mosaici (1932-1936) eng. F zecchin - artistic glass and mosaics (1936-1939) references: exhibitions: venice: island of san giorgio maggiore - the glass rooms: napoleone martinuzzi. Venini 1925 - 1931 edited by marino barovier 8 september 2013 - 6 january 2014 ref. 2568 triennial of decorative arts of monza 1930 (version in pulegoso by v.s.i.m.) books: napoleone martinuzzi. Venini 1925-1931. Ed skirà domus 1929 pag. 32. Milan. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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