Rubino: Gold in the Glass, Uncertainty in the Supply
The beautiful pink and ruby tones of gold-based Rubino glass depend on gold as an ingredient in the glass itself. This is different from the decorative gold foil used inside many of our beads: here, gold helps create the color.
Effetre has communicated with customers by email regarding Rubino. In our efforts to obtain this glass, they will not quote a price—even when we offer to purchase an entire batch. For us and the bead makers we work with, that makes planning future production especially difficult.
Without a confirmed price and an obtainable supply of glass rods, we cannot calculate the cost of new beads or promise when a favorite Rubino design will return. The cost of gold adds another layer of uncertainty to a color that already requires specialized glassmaking knowledge.
Finished beads and glass rods from earlier batches may still be available, but those remaining supplies do not guarantee that we can replenish them. If Rubino is an essential part of your design, we recommend purchasing enough of the available beads to complete your project together.
Cadmium and Our Opaque Whites and Pinks
The color shortages also affect some of our opaque white and pink glasses. Cadmium is an essential ingredient in the traditional formulas for these many of our opaque glasses as we use it as a base over which we apply transparents and decorations.
European rules place strict controls on occupational exposure to cadmium and its compounds. These requirements affect the conditions under which manufacturers handle those ingredients during production. They do not amount to a blanket ban on every opaque glass color.
For our bead makers, the difficulty begins with obtaining the glass rods they need. When a familiar opaque white or pink is unavailable, it can affect an entire design—from the white base beneath a floral heart to the soft pink petals decorating a bead.
Changing a traditional glass formula is more complicated than mixing a new shade of paint. A replacement must produce the desired appearance and work successfully with the other glasses used in the bead. Even when an alternative becomes available, we cannot assume it will match earlier batches exactly.
Together with the uncertainty surrounding gold-based Rubino, these shortages limit which beads our artisans can make and which colors we can restock.
We continue working directly with our Venetian and Murano bead makers to find available materials and beautiful alternatives. We know these colors are special to our customers—they are special to us, too.
Fall/Winter 2026 Jewelry Colors: A Murano Glass Bead Guide
Each season brings new color inspiration, and Fall/Winter 2026–2027 offers a beautiful combination of expressive brights, rich earth tones, and calming shades inspired by nature. This year, we are particularly excited about the striking contrast between vibrant hues and the grounding tones that reflect the changing landscape during these months. In this blog, we explore ten leading colors from the season’s fashion forecast and interpret them through authentic Venetian and Murano glass beads, emphasizing the unique craftsmanship that goes into each piece. For each color, we have selected handmade beads that capture its character—not as exact standardized color matches, but as artistic interpretations brought to life through transparent and opaque Murano glass, 24-karat gold foil, sterling silver foil, and traditional Venetian glassmaking techniques. The interplay of these materials not only enhances the colors but also adds depth and texture, making them truly stand out. Click any featured bead photograph to visit its product page, learn more about the inspiration behind each selection, and shop the color for your next jewelry design, ensuring that your creations are as vibrant and dynamic as the season itself.
Taupe and topaz create a warm, versatile color story inspired by natural stone, amber light and the softly weathered architecture of Venice. Taupe provides a calm, earthy neutral, while transparent topaz adds golden-brown depth and warmth. In Murano glass, these colors pair beautifully with 24kt gold foil, avventurina, ivory, chocolate brown and rich autumn reds.
Rooted in nature yet distinctly modern, Burnt Olive, Green Envy, and Acacia create a sophisticated progression of greens for Fall 2026. Burnt Olive brings an earthy, grounded depth with its muted olive undertones, while Green Envy introduces a fresher, more energetic yellow-green. Acacia completes the palette with a bright, luminous chartreuse that adds an unexpected spark. Together, these shades move beautifully from subdued and organic to vivid and contemporary, making them especially striking when translated into Murano Glass, where transparent color, gold foil, and avventurina can add even greater depth and brilliance.
Vibrant yet beautifully feminine, Festival Fuchsia and Foxglove bring warmth and energy to the Fall 2026 palette. Festival Fuchsia is bold, saturated, and exuberant—a rich jewel-like pink that immediately commands attention. Foxglove softens the story with a dusty, romantic rose pink that feels elegant and refined. Together, they create a wonderful balance of dramatic color and gentle sophistication, especially beautiful in Murano Glass where transparent pinks, gold foil, silver foil, and delicate Fiorato details can bring these shades to life.
These Murano Glass beads are just a few examples of how you can bring the colors of Fall 2026 into your jewelry designs. Use them as inspiration rather than rules—mix the season’s rich earth tones, sophisticated greens, vibrant pinks, ocean-inspired blues and warm neutrals with beads you already love. Add the shimmer of 24kt gold foil, sterling silver foil or avventurina, introduce the delicate flowers of Fiorato and Millefiori, or combine transparent and opaque glass for greater depth and contrast. With thousands of colors, shapes and styles of authentic Murano Glass to choose from, the possibilities extend far beyond the examples shown here. Choose the colors that speak to you, experiment with unexpected combinations, and make the Fall 2026 palette entirely your own.
The theme for Carnevale 2026 in Venice was the Olympics, the Winter Olympics being held almost simultaneously in nearby Cortina. From the opening of the Carnevale along the Grand Canal, the costumes repeat the pageantry of the Olympics.
This year’s Carnevale has been anything but normal. Piazza San Marco has experienced high water on almost all days. Fortunately, the high tides only last for a few hours. But when these come during the planned events it makes life difficult. Imagine spending hundreds (and even into thousands) on your costume, only to have to wade in water.
I can only compare this to the marvelous experience of 2015 when we had beautiful sunny days followed by acqua alta and SNOW. Snow turns everything in Venice into a magical kingdom. But when you step onto the snow and your boots sink through into water. It does make walking (and not falling into the canal) a bit of a challenge. To remember this great Carnevale, read our old blog:
Here are some scenes from the 2026 Carnevale. It gives you a true impression of what happens, the beautifully dressed strolling around the Piazza and along the small streets with locals going about their daily routine and tourist dress in their carnevale costumes.
Today is the end of Carnevale and is known as Martedì Grasso (Fat Tuesday) and the presentation of La Marie ‘The Festa delle Marie‘ (Festival of the Marys) is one of Venice’s oldest traditions. Today, it serves as a central historical reenactment of the Venice Carnival. The Carnevale ends with the singing of the anthem of the Republic shown here from 2019. The Venetians sing along making it quite unforgettable.
Historical Origins (943–973 AD)
The festival originates from two intertwined traditions:
The Collective Wedding: In early Venice, a communal wedding for betrothed couples was held annually on January 31st (the feast of St. Mark) at the Basilica of San Pietro di Castello.
The Pirate Kidnapping: According to legend, in either 943 or 973 AD, Istrian or Dalmatian pirates raided the ceremony and kidnapped twelve young brides along with their dowries.
The Rescue: Led by Doge Pietro Candiano III, a group of Venetian citizens (specifically the cabinet makers or casselleri) pursued the pirates, killed them, and rescued the women.
Evolution and Traditions
To commemorate the victory, the Republic instituted the “Festa delle Marie”:
Patronage: Every February 2nd, the state and wealthy patrician families “adopted” twelve beautiful but poor Venetian girls, providing them with magnificent clothes, jewelry, and a rich bridal dowry.
The Parade: The “Marie” were paraded through the city and along the Grand Canal in a triumph of costumes and boats, ending with a visit to the Church of Santa Maria Formosa.
“Maria de Tola”: Over time, the high costs and public disorder led authorities to replace the real girls with wooden statues (Marione). This was so unpopular that citizens threw vegetables at the figures, leading to the term “Maria de Tola” (Wooden Mary), which remains a Venetian slang term for a woman with a flat chest.
The festival was cancelled in 1379 during the War of Chioggia (la Serenissima and Chioggia) but was officially restored in 1999.
Marie of the Year: The festivities culminate in the election of the “Marie of the Year” (Maria dell’anno) at Teatro La Fenice, who then performs the “Flight of the Angel” in the following year’s Carnival. The Maria of 2026 is Martine Diop Bullo, an 18 year old from Mestre on the mainland. She will receive a Seguso Vetri d’Arte glass creation and, most significantly, will earn the honor of performing the “Flight of the Angel” (Il Volo dell’Angelo) from St. Mark’s Bell Tower during the 2027 Venice Carnival.
The Contest: In the modern version, twelve young Venetian women (aged 18–28) are selected to participate in a series of parades and events and the chosen Maria is presented in Piazza San Marco
The journey begins with a vaporetto ride to the Homo Faber exhibits in Venice, sparking inspiration for a new collection of Murano glass beads. Influenced by various artistic styles, colors, and textures, beadmakers creatively translate these ideas into unique designs that celebrate both tradition and innovation. Each bead reflects Venice’s rich craftsmanship.
It all begins with a vaporetto ride. Sometimes, the adventure starts with wading through high water just to leave the apartment. But the allure of the Homo Faber exhibits on the island of San Giorgio makes it all worthwhile. These incredible showcases of artistry spark boundless inspiration. So, off we went—with two of our beadmakers and a camera—to capture the magic.
In the world of Murano Glass, creativity is a dance between tradition and innovation, and for our studio, inspiration comes from everywhere. Our latest collection of beads owes its origin to a remarkable journey—one that started at the Homo Faber exhibit in Venice, where craftsmanship, artistry, and imagination collide.
A Visit to Homo Faber: The Spark of Creativity
Walking through the Homo Faber exhibit was like stepping into a living museum of art and tradition. Each room displayed breathtaking works from artisans around the world, from intricate textiles to finely crafted ceramics and, of course, extraordinary glassworks. What captivated us most were the colors, textures, and patterns that seemed to speak directly to the heart of Murano’s glassmaking heritage.
As we explored, we were struck by the diversity of designs—soft, ethereal hues juxtaposed with bold, geometric patterns, and textures that mimicked natural elements like woodgrain or rippling water. These visual treasures stirred something in us, and we knew instantly that these inspirations would breathe new life into our bead designs.
Our first spark of inspiration came from the mesmerizing work of artist Tuesday Riddell, who masterfully uses the Japanese lacquer technique. Her collection is nothing short of breathtaking—take a moment to explore her artistry for yourself. Tuesday Riddell
We were captivated by the striking interplay of black and gold, tones we frequently feature in our Venetian beads. Inspired by this elegant combination, our beadmakers were immediately motivated to craft new designs, bringing their own creative vision to life. Below are some of our bead maker’s first tries. I feel incredibly fortunate to have bead makers who can bring our ideas to life. I’m constantly amazed by their ability to craft entirely new and unique designs using the same tools, glass canes, and millefiori techniques that have been cherished for centuries.
From Vision to Reality: Working with Our Beadmaker
Back in the studio, they began translating these inspirations into tangible designs with the help of our incredible beadmaker. Armed with a treasure trove of photos, detailed sketches, and notes from our time at Homo Faber. They reviewed the patterns, colors, and textures that had spoken to us the most.
Designs: Abstract lines, geometric forms, and organic swirls all made their way into our sketches. Every detail was considered to ensure that the final product would not only look beautiful but also feel authentic to Murano’s legacy.
Colors: From the soft pastels of Venetian sunsets to the rich jewel tones of antique glass mosaics, we carefully selected a palette that reflected both the timelessness of Murano traditions and the bold innovation of modern design.
Textures: Many of our new beads feature layers—transparent glass over opaque bases or flecks of avventurina for sparkle and depth—echoing the intricate layering techniques we saw at the exhibit.
This collection is just the beginning as we explore new colors and expand on the inspiring themes from Homo Faber. We even had the privilege of getting a behind-the-scenes glimpse into the design processes of legendary houses like Cartier, Mercier, and Van Cleef & Arpels—a rare and fascinating experience that continues to fuel our creativity. A look at the sketch book reveals their process so similar to ours.
After countless hours of experimentation and collaboration, our beadmaker brought the sketches to life. The result is a collection of beads that celebrate the beauty of Murano’s craftsmanship while nodding to the innovative spirit we saw at Homo Faber. Each bead tells a story: the story of Venice, of our studio, and of the creative journey that began with a single spark of inspiration.
Whether it’s a delicate pink bead with avventurina shimmer or a bold black-and-gold design inspired by the exhibit’s contemporary installations, these beads are a testament to the power of collaboration and the endless wellspring of inspiration that is Venice.
An Invitation to Create
As we launch this collection, we’re excited to share these designs with you. We hope they inspire your own creations, just as Homo Faber inspired us. Each bead is a tiny piece of Venice—a city where artistry is woven into every canal and calle.
Thank you for joining us on this journey. Together, we keep the traditions of Murano alive, one bead at a time.
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
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!
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.
When we were working with our bead maker, we made this short video. It gives you some idea of the steps involved in making a complicated bead like this. But even before she sits down to turn on the “canello” the torch used in Murano, she has already assembled the fragments of mosaic canes, color fragments and the 24kt gold foil used on the bead. And she has preheated these fragments so they do not shock the base bead when they are attached. The slices of millefiori are added individually. The tool attached to the cane in the beginning is just a way to use even the short pieces of cane. The tools used to create the shape are made by a tool maker in Murano who is following in his father’s footsteps and without whom, we would be lost.
Making our Basilica Murano Glass Beads
Why are they called Basilica? If you have ever been to Piazza San Marco just looking at the mosaics above the huge doors will give you a clue. And once you enter into the Basilica San Marco, taking a look at the incredible gold and mosaic work on the domes you can definitely see the similarities.
Basilica San Marco with over 8,000 of Meters of Mosaics
The gold is exterior on these fabulous beads and the colors are perfect for the summer season. We made a bracelet with the blues and the design instructions are free.
You can find the instructions on the link to the photos as well as below on that page, you can order the beads. Here are a couple other examples of jewelry (design available on our website, just click on the photo).
Gold and Multi Mosaics Basilica Bracelet
And this over-the-top necklace in Aqua is equally as easy to make.
Aqua Basilica Necklace (Click on Photo for Design Instructions)
The latest crisis facing Murano furnaces is the exorbitant increase in Methane prices. Methane is the gas used to melt the sand into glass in most of the furnaces in Murano. It is piped under the lagoon directly to Murano.
The latest is a double whammy occurring on the tails of the shut-down for COVID. During 2019, 3+ months of complete lock-down where residents were only allowed outside their house for essential services, grocery shopping, visits to the doctor or the pharmacy. No workers were allowed inside the furnaces. During this time we were fortunate to have a few bead makers who work from their home and could continue making beads.
Tourism died as travel to Italy was not allowed. In fact it was only in the summer of 2021 that US residents were welcomed and then only those vaccinated and with negative Covid tests. Tourist from other reciprocal countries in the European Union were allowed earlier as was the travel between regions in Italy.
But Murano doesn’t receive a lot of money from the Italian tourist, for the most part, the Italian tourist is just on a day outing, perhaps buying lunch at a restaurant, but rarely large works of glass art. The same is true from EU tourist who arrive in the summer holidays with their families, often camping at Jesolo, across the lagoon spending much of their time on the sunny beaches.
Delivery Boat Murano
The tourist who are apt to purchase at the “glass factories” arrived in the past on tours by large tour companies, like Trafalgar, or other organized tours which included visits to various furnaces, especially a tourist furnace on the Island of Giudecca where the tourist were shuttled by boat from Tronchetto directly there. Tourist were also sent by hotels to specific furnaces where the furnace agreed to pay a fee for delivery. This so-called free taxi to Murano often backfired on tourist who didn’t get the point that in return for delivering them to the furnaces, the furnaces expected them to purchase (and not 10 Euro items). So sometimes these tourist found themselves learning public transportation to return to Venice.
Murano
Just as the furnaces were seeing an increase in tourist and sales, the news of the increase in gas prices has skyrocketed, from 0.23 cents to 0.90. A surge of 400%. Consider that the furnaces burn 24 hours a day otherwise the costly crucible inside the ovens will break a broken crucible cost about $2,300 US.
A medium-size glassblowing business consumes ~12,000 cubic meters (420,000 cubic feet) of methane a month to keep seven furnaces glowing at temperatures over 1,000 degrees Celsius (1,800 degrees Fahrenheit) 24 hours a day.
Monthly bills normally range from 11,000 to 13,000 euros ($12,700 to $15,000) a month, on a fixed-price contract that expired on Sept. 30, 2021. Now exposed to market volatility, an increase is projected in methane costs to 60,000 euros ($70,000).
And even those furnaces who are lucky enough to have volume orders from shops, markets abroad are now facing a certain loss on orders they are working to fill as they have already negotiated prices for the orders and those prices did not include this unexpected increase.
HOW DOES THIS AFFECT OUR BEADS?
Unfortunately, this increase in gas prices will manifest itself two ways in our beads. First, the furnace that produces all the glass canes our bead makers uses volumes of gas to keep its furnace glowing with each batch of just one color being about 250 Kilo (~500 Pounds). This furnace provides glass canes to the world. More importantly, it provides all the canes to our bead makers.
The Second Increase
Then, the torches (canello) that the bead makers use all are powered by gas. So they too are experiencing a huge increase each time they replace their cylinders of gas.
Tanks of Gas being delivered in Murano
The Confartigianto, the artisan association has pleaded to government in Rome to assist in negotiating better rates with the alternative that an artist craft active in Murano since 1291 will be in peril. Even now, furnaces are being leveled and hotels rising up. One of the latest to fall to the hotel industry is the old factory of Moretti along Fondamenta Manin just down from the boat stop Colonna. Profits are good for the hotels (not necessarily the workers and certainly not for the population of Murano) and they do provide some jobs and create some tax income for the Italian government. The downside of all this is that once the furnaces close it will be virtually impossible for the island to continue to maintain its place in the world of glass. As of now, already 7 more furnaces have closed.
Bead Making Torch Murano Glass Beads
Murano holds a treasure of artisans, world class glass blowers whose names remain unknown because they just go to work each day and blow glass. They do not think of themselves as artist but they are responsible for the largest part of the glass sold. Murano is a legend in our world of glass – since 1291. I hope that the Italian Government comes to the aid of the furnaces in Murano otherwise Italy will be losing the history of Venice and Murano. Along with one of the reasons that tourist come to Venice.
Hooray! We have finally been successful in obtaining the necessary VAT number to once again ship to the EU. That was a major undertaking that I am sure caused me more grey hair. We can ship packages values at under €150 through our international parcel consolidator.
HOW IT WORKS:
Our website will now charge VAT at the rate in your EU country. It will be displayed as you checkout. VAT is also charged on shipping. If you have a VAT # already, be sure to send to us. And we will use that number in our shipments.
NOTE: VAT will show as a separate line called “Taxes” As we do not include any taxes in the price of an item which is how the US works. And this is how we must report to your country’s tax agency. It will always be a separate line item at the end of your order.
We collect and submit the VAT directly to your country. This is accomplished for us by a third party known as an IOSS which is authorized by the EU. Below are the rates as of 9-24-21.
PACKAGES OVER €150 – HOW IT WORKS:
Packages with a value over the €150 cannot be shipped via our international parcel consolidator. We can ship USPS Priority Mail International or through various carriers such as FedEX, DHL, or UPS. The VAT will be collected by these carriers before delivery.
In the event that your order is over the €150, and that our website adds VAT to the order. You will not be charged by us. As most of you know, we only get an authorization at the time of the order, but we will process your credit card for only the amount of the order plus the shipping, not including the VAT.
GOOD NEWS:
The good news is that we can once again use our international parcel consolidator for much more advantageous shipping rates. Shipping is of course, based on the weight of the parcel. Here is the international parcel shipping costs to Europe (Other rates apply to the UK, Australia and other Pacific Countries)
Shipping Rate in US $$ and based on US – Weight in Pounds. 16 Ounces = 1 Pound
I am sure we will have some hiccups as we learn more about this and we will make adjustments and corrections as we need to.
I am hoping we can resolve the UK quickly. We are awaiting registration of our VAT # in the UK. We’ll keep you posted.
I am just happy that we can once again ship to all our valued customers in the EU.
