Less known than the previous ones, the glassware Arte Vetraria Muranese, called A.Ve.M., nevertheless produced, in the 1950s, glass art objects of great originality, thanks to the inventiveness of Giulio Radi, Aldo Nason, Giorgio Ferro, and Anzolo Fuga.
Founded in 1932 by Galliano Ferro, Emilio Nason and Antonio Luigi Ferro, along with the latter's sons, Ottone and Egidio, the company initially stands out little from its competitors. Its production remains close to that of the other glassworks on the island and, although aligned with contemporary trends, its first catalog shows few innovations.
The situation evolves from 1940, when Giulio Radi (1895-1952) undertakes important work in technical and chemical experimentation. He layers glass of different compositions, enriched with sheets of gold or silver immersed in it, in order to obtain subtle and unprecedented tones. Although the war interrupts his research, it resumes in 1947, when he officially becomes a partner of the company.
After his untimely death in 1952, the production of glassware decorated with gold and silver leaves continued under the direction of Aldo Nason (1920-2017), son of Emilio Nason, co-founder of the factory. Initially responsible for blowing and executing the models designed by Radi, he gradually developed his own creations. When he left A.Ve.M. in 1967, he founded his own glassworks, Vetri Artistici Aldo Nason, where he continued to produce this type of objects, notably the Yokohama vase.
In 1951, Giorgio Ferro (1931-2001) in turn joined the family business. While he created several models there, he is primarily known for the Anse Volanti series (1952). These sculptural vases, with thick walls but fluid lines, are characterized by a large handle achieved through perforations integrated into the form. Generally monochromatic, they feature a matte iridescence, sometimes highlighted by the application of aventurine canes.
The same year marks the beginning of the collaboration with Anzolo Fuga (1914-1998). Initially informal, it arose from his search for workshops capable of producing the blown elements that he then transforms into panels for his stained glass. Captivated by his talent as a designer, A.Ve.M. incorporated some of his creations into its catalogs. Production, however, remained limited, Fuga constantly renewing forms and proposals, often unique.