Loredano Rosin Glass Sculpture
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Sold Date: 05/07/2008
Channel: Online Auction
Loredano Rosin- Crystal Sculpture-CoupleArtist: Loredano Rosin Title of Work: Loredano Rosin Seated Couple Back To Back Dimensions: 14âe High x 11âe Wide x 5âe Deep Approximate Materials: Hand Blown Murano Glass Signature: Lorendano Rosin Incised On Top Of Base Condition: Excellent No Scratches, Chip Marks Signed and Stamped Loredano Rosin Comments: Magnificent and rare signed original crystal sculpture by internationally acclaimed artist and master glass blower LOREDANO ROSIN (1936-1992). Loredano Rosin was a noted glass sculptor and was a master glassblower at Salviati & Co, Venice , Italy . Rosin was a traditionally trained craftsman who, until his timely death in a boating accident in 1992, worked on the Venice Lagoon Island w glassmaking has been concentrated since the 13 th century. The artist on the front of the base signs this spectacular sculpture of a seated nude youth couple. Loredano Rosin Biography Written By Loredano: I am a member of the last generation of Murano glass masters who were trained in the ancient artisan tradition. For better or worse, we were not free to choose a profession. Constrained as we were by geography, by the mentality of the times and, above all, by economic necessity, we began working glass as adolescents. It is only now that I can fully appreciate just how fortunate I was. A boy on my first day at the job, I was assigned to a piazza, a work group of four or five men who labored together in front of the mouth of the glass furnace ten to twelve hours a day, my colleagues, thus became a surrogate family and the master (head of the work group) was in those days the head of the family. My first master was Romano Zanelli called Cocui Saor (nicknames which distinguish one branch of an extended family from another are Murano tradition which, with the spread of literacy, is fast fading. He was a skilled glass worker and kind to me. I can see him yet: an elderly man seated at the masters bench, relaxed, working calmly and without fear while tongues of flames leapt from the furnace and other glass workers moved about him with sps of glowing molten glass, from this magma he drew the stuff to create roses for traditional Venetian chandeliers. I had no doubts. The surreal images and the creative possibilities of the world of glass fascinated me, and I wanted to be like him. When I was only twelve I was already working more than ten hours a day. After working those long hours I had little time or energy left of play or to express my creativity outside the work environment. However bit by bit during slack time and almost as a game, I began to play with glass and, thus learned how to manipulate the material. After my first experience I worked with several other glass masters on Murano as an apprentice then as a journey man, through them I learned all the techniques of Murano tradition, but I never did work with any of the famous masters celebrated for their glass sculpture. Blowing glass didnâe(tm)t satisfy or fulfill me; I was drawn to the process of working and shaping solid glass in the mass. For a brief period when I first became master, t was a great call for solid tabletop pieces. Making these figures gave me both the possibility to earn a living and also to begin to apply techniques I had learned for working solid glass. In 1965 a grand opportunity came my way: âeoeThe Fucina Delgi Angeliâe was looking for a young master ready to carry out some important glass projects. At that time I was a partner with my brother Micro in our own glassworks, but the proposal intrigued me, not the least because the first piece to realize was Pablo Picassoâe(tm)s Nymphs and Fauns. At that moment my collaboration with Fucina was born. The transformation of designs by world famous artists into sculpture in glass was a great challenge, especially because the artists had not accounted for the new technical problems of working glass and tfore, I...
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