Posted 10 years ago
This is another of my more rare murano pieces created and signed by one of the famous great masters of murano glass, Livio Seguso. Most of Segusos birds where created in single pieces or created in pairs each having a seperate base, Not usually as one solid sculptural piece especially this size.Piece is late 1960's early 70's.What I love about this piece is the alexandrite colored body, smokey grey tail to the Love birds, and the brilliant red blown and combined with the smallest of gold aventurine flecks inside the glass from the front of the chest down to the top of the branches.Branch base itself has very faint uranium glow to it.
Piece is huge measuring at 16" across tail to tail and 11" tall.This is a piece I need to get a turntable to display the piece as the colors change at different angles due to the combination of colors and positioning as you can see in the second set photo. When turned completely around both birds look like cardinals.
As of 1978 Seguso now only creates his masterpieces in crystal and metal.
Here is a bio on Seguso:Born in 1930 in Murano, where he still works today at 81, Livio Seguso began his life-long affair with glass from a very early age, fascinated by the inexhaustible appeal of that wonderful medium. After having achieved an in-depth knowledge of the traditional glassmaking techniques, and stimulated by his strong artistic sensitivity, this artist turned to plastic forms, and his research led him to explore with avid interest the world of the of the great masters of contemporary sculpture. In those years, glass was not used as a medium of mere depiction, but it was in itself the very object of his artwork. Seguso's mastery of his medium was such that it allowed him to express himself completely without being hampered by the limits of craftsmanship. The artist fully revealed the infinite potentialities of this mysterious material in an endless variation of spaces and thicknesses, always aiming at an absolute purity of forms. Livio Seguso reached his full artistic maturity in the mid 70's, when he totally abandoned the Murano glassmaking heritage, and worked briefly for Gral glas company in Germany.and was commissioned by a few other art glass companies to create base designs with his artistic technique and creativity, Seguso vetri d' art being one of them.During this period with other companies ,works where signed numerous ways, simply L.S. , L S or L.Seguso.
After this 3 to 4 year period Seguso began to focus solely on clear crystal, changeable and ambiguous in its transparency, the perfect medium for the artist's uncontaminated imaginative vision. His sculptures could then manifest themselves in forms of absolute purity, non-mimetic and non-representational of anything, reaching out to seize the principle of a visible event that was undisclosed before that moment, and, in doing so, reveal the personality of the artist,In 1978 he reopened his own private studio.
During this time his artistic research overstepped the confines of the medium used, experimenting with other materials like steel, rock, marble, and granite, and, more recently, wood. His artwork also took a departure from his previous rounded or elliptical forms, and he began to conceive volumes in a more geometrical pattern. This in turn was to lead to an ideological turning point, not only in the choice of mediums and their poetical potential, but also to an ideational transmutation that enhanced the artist's expressive possibilities. The new mediums, always used in combination with glass, exalt both the transparency of this material and the intensity of the light, and their ultimate purpose is to create an ideal union between intellectual rigor and the neatness of the volumes, between the sense of refined elegance and poetic imagination.
There are numerous books written solely on this Master of murano and art glass forms for more information.