Giorgio Giuma – Where Imagination Has No Limits

Giorgio Giuma Maestro of Murano in Sculptures and Wax Cating

Giorgio is not a glass artist in the traditional sense, though he possesses the ability to make ordinary vases, animals and figurines you find all over Murano. Giorgio’s talent lies in making the extraordinary. In his vision, Cinderella doesn’t have only glass shoes, but Cinderella has a Glass Castle and he boasts an entirely glass Greek Temple. He works both traditionally (with the blow pipe) for his animals, dragons and chandeliers.

He uses lost was casting for a variety of pieces of art. Lost wax kiln casting is a versatile method for making glass pieces in almost any form imaginable. The process involves creating a refractory mold around a wax model. The wax is then removed—or “lost”—creating a cavity. Glass is cast into the cavity, resulting in a fully sculptural finished piece.

His work shop covers a rambling acreage on the island of Serenella in the Murano islands bringing his ideas to life away from the busy tourist paths of Murano. It also includes fruit trees and bees. Inside, the workshop is a glimpse into the mind of a true artist. He is a large, gentle Muranese who speaks in a soft voice and loves discussing his art. He is not involved in the “tourist” furnaces and works in the background. He creates glass pieces for the who’s who of fashion and is the go-to for large pieces like this.

The Greek Temple is about 5 feet tall. In the forefront, you can see other projects evolving. The flowers are pieces of a chandelier, while the blue mold appears to be a soccer field.

His lost wax casting is used in the creating of glass Red Square. Here you can see the evolution of his creation with the small version and to the right the wax for the casting of Red Square, Moscow. Behind on the shelves are previous projects and ideas for the future.

And yes, the cluttered background is typical of all production furnaces. 50+ years of tools and moulds are on the shelves. The knowledge of how to make the glass is in his head. The ingredients are seen here in the sleds of sand and soda. And at one point, he takes a blow pipe to one of the furnaces and shows me his pride, his incredible red – a blood red!

The furnace stays on 24/7 to maintain the glass at the correct temperature. Pots of colors are in the smaller furnace door.

The fixtures on the left are annealing ovens. The number of them gives you an idea of the number of workers Giuma had in the past as does the quantity of blow pipes surrounding the furnace. Blow pipes are used to make hollow glass articles like vases, bowls and bottles. While the Pontil (Punt, Punty Rod) is a long rod used when sculpting animals and also to transfer a blown piece to the annealing oven. Some of the items made on the end of the punty are shown

I am always in awe of the artistry of the Murano Glass Maestri, their imagination, their ability to turn an idea into a sculpture, a castle makes you believe in magic! And Giuma makes the magic come to life!

For more of his work and his unique story, visit his website Giorgio Giuma

La Fenice Glass Furnace – the Flames Still Burn

Today WAVE is breathing new life into the historic furnace with 15 workers and the owner Roberto Beltrami. Beltrami is not from Murano and rubs a few people the wrong way that he has the money necessary and talent to run a furnace. From my view point, he is employing 15 workers, he has studied, first science and then glass blowing.

Fornace La Fenice – Murano

You can watch the interview on CBS here: https://www.cbsnews.com/video/meet-the-designer-turning-classic-venetian-glass-into-modern-art/. A few glass blowers are whining that he is not Muranese. I only wish to point out that Antonio Salviati from the famous Salviati furnace in Murano was a lawyer by education from the nearby city of Vicenza.

He went on to open a glass furnace in 1859in Murano along with Lorenzo Radi and produced the mosaic glass for the altar screen at Westminster Abby. He and his friend Austen Henry Layard founded Compagnia Venezia Murano and together they changed the face of business becoming the first glass factory to employ a number of skilled workers (glass blowers) to mass-produce glass for export.

While Murano had been a glassmaking centre since the European Middle Ages, in the 19th century the industry was revitalized by Salviati and others who adapted traditional skills to modern manufacturing processes. Salviati’s firm helped promote glass as an accessible art form and encouraged the public to collect glass ornaments and tableware. This effort rekindled the interest and the furnaces of Murano.

So as a number of local glass blowers whine about Beltrami’s money and belittle that he is not a “Muranese”, many of these are the same glassblowers who happily fly to the US, Japan or elsewhere to teach the secrets of making Murano Glass lining their pockets with money and enjoying being treated as a celebrity and leaving the story of Murano Glass with others who are NOT “Muranese”.

I applaud him for creating jobs in Murano, for continuing the art form. And I can’t think of a more appropriate place than the historic La Fenice on Fondamenta Mula. I believe Franco would be happy knowing that the fires still burn.

If you are going to Murano, visit his website and you can schedule a tour or even a glass lesson.

WAVE Murano Glass

A Tribute to my Mentor in Murano

He was unbendable, determined, hard-headed and above all a family man. His love of glass was only surpassed by his love for Valeria, his wife.

We met in San Francisco in the 90s through the Italian Trade Commission which sponsored a group of 20 or so furnaces from Murano who came to a small trade show. We were already importing Murano Glass, but this was an opportunity to meet more glass artists. We loved what we saw, bought all their samples and invited the entire group to dinner in San Francisco to show them a little of “our” city. That night we closed the Buena Vista but not before our friends had sung their favorite Venetian songs in dialect and sealed a friendship that endured. And as luck would have it, he was President of the Association that promoted the glass in Murano. He introduced us to other furnaces, the famous MACEF show in Milano, bead makers, shipping experts and tools designers.

So for about 20 years our number one restaurant was at his house in Murano with our families around the table (no matter how many we were there was always room) and his wife Valeria cooking. And oh my she could cook. In the summer there was a small cottage out back to escape the heat and a grill fish because when you live on an island, you eat fish!

Franco was born in Murano in the years between World War I and II and began working in the furnace as a young boy, never finishing school. After World War II, with so many of the men lost, he had to work to help support his family. This was the experience of so many during this period.

He met his wife Valeria when she was 13 (she was from a different parish in Murano) and they were engaged for years as he refused to marry until he bought a house for her and owned his own furnace. They both worked, he in furnaces and she in furnace that made smalti (mosaic) tiles. They saved their money. His determination and single focus never swayed. He was controversial, opinionated and his fellow furnace owners and bead makers lined up either loving or loathing him.

Either way, my political capital on the island went up when I walked home with him for lunch, or attended official Venetian functions with him, because Valeria had long tired of these events (and I absolutely drank in every moment of being surrounded by glass blowers). No one doubted my seriousness as a buyer when they saw us together. In those days, it was difficult for an American to establish a bank account. But not if your friend was on the Board of Directors of the local bank.

He schooled me in glass, in the politics of the island and in family life in Murano. As the “reigning” head of the glass workers, he was the Solomon to whom everyone brought their grievances. I have listened as he reasoned with drunken husbands, unhappy spouses, mis-understandings between local companies, unpaid debts and perceived wrong doings. And yet, when it was over, he never said a word, never repeated a accusation.

He never stepped foot in a bar on the island (except for the restaurant he owned with his children). But he enjoyed a good bottle of Valpolicella and great grappa, which we drank every night for good health. I can attest to its value to a cough or cold.

When I studied glass blowing in the US, he was the first to invite me (a woman) to work in his furnace, schooling me in the ways of the furnace and the Muranese terminology. His generosity in sharing the workings of a furnace, from putting the ingredients in the pot, to making zanfirico was a privilege few people outside of Venice ever have. When we traveled as we did every August when he and Valeria visited with us in California. We stopped at every glass shop, gazed at every chandelier – and the talk was always glass. And everywhere we went, the glassblowers were thrilled to meet him and asked him to blow glass with them and nothing could have made him happier.

He dearly loved to drive (a special treat for someone living on an island where there are NO cars) with his Mercedes parked at the airport in Venice, we traveled the back roads of the Veneto. He loved showing us “his” Italy. He introduced us to his friends, we spent weekends exploring the Alta Adige, Asiago staying in their cabin or staying with friends on their farms, picking cherries, playing cards and eating the fresh pasta that had laid on the dining room table of the farm house the day before to dry.

In the US he absolutely loved driving on our freeways – it’s how I learned so much Muranese (the local dialect) as it became important to be able to get the point across quickly and accurately. He spend several August vacations with us and we toured the California, Nevada and the southwest, and in the Christmas holidays, we explored Hawaii and Florida. We celebrated New Years in Las Vegas at the Venetian, of course where he was distraught to learn not one of the gondolieri spoke Italian.

He was world traveled, an avid reader with an insatiable appetite for knowledge. And despite his limited formal education he was knowledgeable in politics, history, art and, of course, glass. He was responsible for the installation of a furnace in the Venetian Casino in Macau demonstrating the techniques of glass blowing.

He was President of the Abate Zanetti (school of glass) in Murano. He created a  course to accommodate locals who needed to work and could only attend in the mornings. He was my entry to all of Murano, walking home with his from the furnace gave me instant credibility. We called him the Godfather of Murano as he settled arguments, dealt with family crises and above all promoted Murano Glass. 

But he was also stubborn, we argued over dinner, over the phone and around the world together. Rarely did I win an argument-usually only when his wife, Valeria interceded!

Basilica: Necklace, Bracelet and Earrings – Free Murano Glass Jewelry Designs

The Pink Basilica Necklace, Bracelet, and Earrings offer a tribute to Venetian artistry with Murano glass and gold foil. The necklace combines vibrant millefiori patterns with pink white gold rounds, while the bracelet’s lamp work squares exude opulence with 24kt gold foil. The earrings, adorned with millefiori slices, emanate elegance in a soft pink hue.

Make this Pink Basilica Necklace

Imagine a necklace that whispers stories of Venetian charm and artisanal mastery. This 17-inch marvel is a symphony of Murano Glass Squares and discs, each infused with the essence of ancient glassmaking techniques passed down through generations. Picture tiny slices of millefiori mosaics, meticulously arranged like vibrant confetti, captured beneath a translucent surface, shimmering with life, in this Murano Glass Jewelry design.

But the magic doesn’t end there. Set against a backdrop of luxurious 24kt gold foil, these glass treasures gleam with an unparalleled radiance, each piece a testament to the fusion of tradition and innovation. The warm embrace of the gold foil accentuates the intricate details of the millefiori patterns, adding depth and opulence to every glance.

And then, like delicate jewels adorning a royal garment, the necklace is adorned with Pink White Gold Rounds in varying sizes – 6mm, 8mm, and 10mm. Their lustrous sheen and gentle blush harmonize with the kaleidoscopic hues of the Murano Glass, creating a symphony of colors that dance with every movement.

For the Free Instructions and components list: Click Here

Adding a touch of luxury and opulence to the design is the presence of 24kt gold foil delicately infused within the glass. The shimmering gold foil lends a radiant glow to the bracelet, catching the light with every movement and casting a warm, ethereal glow.

To complement the beauty of the Murano glass squares, the bracelet is adorned with gold fill bead caps. These bead caps add a touch of sophistication and refinement to the piece, enhancing its overall allure and ensuring that it stands out as a true statement of style.

For free instructions and list of components: Click Here

For free Instructions for the Earrings Click Here

3 Days in Paradise – Venice

What to do if you have only 3 days in Venice, from the moment you arrive at the airport or the train station or Piazzale Roma. The tips I use to buy my vaporetto pass, book my visits to the Basilica San Marco (because no matter how many times I go to Venice, I always visit the Basilica). How to get a skip-the-line pass to the Museums and why you need the Museum pass.

Then there are some of my favorite bars (not the same as the US, a bar is just where we all grab a coffee – or something stronger if you need it) and a tramezzini (a cute triangle shaped sandwich minus the crusts), a cheese toast or a quick snack. There are also my favorite pasticceria. I make no apologies, Dal Mas is my absolute favorite. And wait until you see how fast they can make a fantastic cappuccino while they work around each other and the pastry chef delivering hot delicious goodies. It is a ballet in motion.

The kindle version is available for free and the paperback, easy to pack is available on Amazon Books now: The ASIN is: B0CVVQYWQ4 or you can click on this link: https://a.co/d/hfULsmn

My hope is that when you go to Venice, you spend your time like I do, just wandering around. The best times of day are the early morning and late at night when there are few tourist (sorry no offense). Also the lighting and colors change over the day so these are the best time for making pictures.

Murano Millefiori Bead Bracelet, Free Design

This bracelet features thin slices of Millefiori (thousand flowers) in pink and beige embedded into the molten glass are our bead maker creates the bead. The millefiori is placed over 24kt Gold Foil on a black background for a luxurious look.

It is easy to make. Use our instructions to guide you and the parts list for all that you need. It is 6 1/2 Inches, which you can increase by an inch just by duplicating the pattern, adding an additional 14mm bead and surrounding pink crystals. For the free PDF and parts list Click Here

Murano – Glass Island & Italy Magazine

Murano Glass Furnace

We just wrote an article for Italy Magazine, the online magazine is a great source of news for Italy and what is going on.

You can read the entire story here:

https://www.italymagazine.com/featured-story/brief-history-murano-glass-told-expert

It is an online magazine that you can subscribe to for free and enjoy stories of all the regions of Italy, places to visit, history of the area. And for me above all are the beautiful photographs.

And read Brenda’s article on her view of the history of Murano and the issues of today. Visit our website to browse our Murano Glass Home Decor

Blowing Glass – Looks Simple? Right?

Making Glass Blowing Look Simple

Watching these guys makes it look like play. Watch as they make authentic mouthblown Murano Glasses. Glass blowing is teamwork, the Maestro (the one who sits at the bench) and his servente, basically anyone not sitting at the bench. In more complicated pieces there may be 4 or 5 who comprise the Piasa, in dialect or Piazza in italian. Watching a Piazza in action is like watching a ballet, just with glass heated to about 1900 Fahrenheit being swung around.

Father and son work on this team in a classic family business in Murano. The father owned his own furnaces until he retired and the son was a Maestro at some of the most well known furnaces in Murano. Additionally, they make some of our most beautiful beads. As you see them here working they do not have a traditional furnace, they work with Cotisso (shown below) which is chunks of glass which have been premade and they just need to melt it in order to blow the glass. The chunks are bought from the same Murano furnace that makes canes for our beads. It just saves a step in the process.

Their years in the furnace making vases, wine glasses, animals, all the things in the furnace have given them the experience to make even our small beads. We all love their outside spirals beads shown below. They are the specialty of the son. His work in the Venini furnace taught him all about control of the glass. They are so perfect they look like a machine made them.

We are delighted to add these glasses to our inventory and hope you will enjoy them as we do. You can find them on our website at https://www.venetianbeadshop.com/Murano-Mouthblown-Glass-Clear-with-Multi-Colors-Mosaics_p_24562.html

Mouthblown Murano Glass for your table

Below are the incredible exterior spiral beads that we just love. To see them: Click this link

Ladies Day – Inventory Count

You are never too old to love Venetian Beads. We began as the “bubble” of COVID when our lovely ladies couldn’t go to mass, couldn’t go to Bingo, nor the hairdresser couldn’t go to any of the things that keep them “young”. And 3 years on, they still come to our beadshop every Wednesday afternoons to count beads.

Rina, whose family is from Pederobba, Italy, an agricultural very tiny town on the banks of the River Piave, will be 100 in August and still lives alone. She has a mind as sharp as a 25 year old and keeps us on our toes. Maryann whose husband came from Silvano d’Orba outside Genoa, Italy just turned 99. Maryann spent years as head nurse at our local retirement center for nuns and balances the sparky Rina.

They count our inventory, except for the tiny beads which they say their hands won’t pick up. And in these 3 years they have counted some 10,000+ bead SKUs for us. We are just restarting from Row 1 again (though don’t tell them, I think they forget we counted them 3 years ago).

They just enjoy being at the beadshop and and having people around – a diversion from sitting at home. Don’t comment on the mess in our warehouse. It is really organized and we can find things. But with some 18,000 SKUs (individual part numbers) there is bound to be a bit of chaos.

Then after we finish for the day. We head to my house and we cook dinner together. Rina entertains us with her stories of she and her husband and their many travels, which includes driving from San Francisco (where she lived) to Acapulco in 1949 on her honeymoon, a staggering 2700 miles to get there. How they did this I have no clue, also taking a ship from New York to Le Havre where they bought a Peugeot which they drove all around Europe spending six months in Italy with their family. His family is from Lucca.

Needless to say, the dinner involves prosecco and good food. And we just call it “Ladies’ Day”.

Lampworking or Beadmaking?

This Corning Museum short clip gives you an idea of the origins of “lampworking”. It was exceedingly painstaking to make a bead, or small animals or fruit. This arduous effort is where we get the term lampwork. Even though today the torches are fueled by bottled gas which does not require a bellows or foot petal, the term lampwork is still used today not only for making figurines, but also for making beads, especially in the ISGB (International Society of Glass Beads).

Lampworking versus Bead Maker
Lampworking was a large industry in Murano since the 14th Century, and continues today. Though in Murano they make a distinction. They consider a “lamp worker” to be a person who makes small objects or small animals and a “bead maker” to be a person who makes beads.

Lampwork versus Beadmaker

To the Muranese, the distinction is that a lampworker works not with a mandrel, rather with canes of glass forming the small animal on the end of the glass cane, so the animal or object does not have a hole through it. And generally, the lampworker is held in higher esteem than a beadmaker. Some of our best beadmakers began as lampworkers, following in the footsteps of their fathers. But we convinced them that if they could make a gondola or small bear on the end of a glass cane, they could make beautiful beads!

In the picture above, it’s clear to see that the skills to be a lampworker are the same as a beadmaker, just add a hole!

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