We produce replacements for Murano glass chandeliers
This beautiful, precious, refined murano glass chandelier that you see every day is the centre of the house, when friends arrive or more simply when you look at it, it is the centre of attention. If a small piece is missing, even one as small as a murano glass leaf or a flower, the eye always falls there, in that tiny empty space.
Almost all of our products are made to order and when you choose one, our glass master will make it for you, realising your idea according to your needs.
Our production times are justified by the certainty that the product you are going to buy is truly unique, and actually the way you want it because it is made for you by hand, according to traditional Murano techniques, with its own special features and characteristics to be considered a merit of uniqueness and not a defect.
We manufacture spare parts for Murano chandeliers, including those produced by other glassworks.
furnace, it was improved at the end of the 15th century with the introduction of the perforated glass barrel.
With the "retortoli" process began, which, together with the "redesello" process, a weave of reeds in which small air bubbles are trapped, will be called "filigree" from 1687 onwards.
In order to regulate participation in the Councils, which were also attended by non-muranese people, a "Golden Book" was established in the 17th century, in which only those entitled to Murano citizenship were entered. In this century the Murano mirrors, produced as early as the 16th century, were particularly appreciated. In 1665, the minister of Louis XIV, Giambattista Colbert, recruited Murano workers specialising in the working of glass plates for mirrors, to introduce this work into the Murano glass industry
"Manifacture Royale des Glaces de Miroir".in Paris.
The Venetian production of the 18th century, which suffered from the competition of Bohemian and English glass, was held high by Giuseppe Briati, with his chandeliers with metal arms covered with tubular elements (the bushings of the Ca'rezzonici) blown crystal with polychrome decorative elements (the Ciocche, hence the name of Rezzonico chandelier or lock) and the "desser" that is centerpiece.
The only flourishing production was that of the conterie. The first signs of awakening were in 1838 with Domenico Bussolin, who gave new impulse to the filigree working. A prominent figure around the middle of the century was Pietro Bigaglia, with his original fíligrane containing aventurine threads,
and the paper presses made of millefiori.
To convince the Murano people that it was possible to return to the ancient greatness was
Abate Zanetti
which, after the middle of the century, opened the
"Festive school of drawing for artists".
and today's Glass Museum, in which he collected documents from the Murano archives, together with glass, portraits and medals. The Vicenza lawyer
Antonio Salviati
produced mosaics that were exported all over the world.
After their rediscovery by Lorenzo Radi, and gathered the best masters for the production of light and elegant artefacts.
In the last years of the 1800's and the beginning of the last century, the glassmakers of Murano produced blown glass of excessive technical virtuosity.
Between the two wars and in the second post-war period the most important ones were born
Today's glassworks, mostly still working in the traditional way, with tools and techniques that are centuries old:
to make chandeliers, objects, mirrors, glassware, murrina glass,
decoration and engraving on glass, lampwork objects.
Nowadays there is a growing attention of some good craftsmen to a production of modern taste artefacts, but that shows a wise use of a centuries-old technology.
2 Not including tax