About the Maker

Multi Glass

Multi Glass was founded in 1919 by Hirokichi Nakajima in the Fukuoka Prefecture, the furnace originally operated under names including Nakajima Glass and Fukuoka Special Glass. While the factory quickly established a reputation for immense technical prowess - famously winning a Grand Prix for their exquisite art glass at the 1937 Paris World Expo - it is their incredibly vibrant, mid-to-late 20th-century output that truly cemented their enduring legacy in the global vintage market.

The company's most sought-after era is defined by their mastery of 'Multiple Layer Glass,' the intricate, labour-intensive technique from which the brand eventually derived its famous Multi Glass name. Glass blowers expertly suspended ribbons of glass within thick, heavy clear casings. During the 1960s and 1970s, this method was used to produce vases, centrepieces, and a wildly popular range of sculptural animal figurines. Authentication relies on surviving foil stickers, which are frequently found bearing the Multi Glass mark (occasionally translated phonetically by international sellers as Marti Glass).

While the original Multi Glass factory closed its doors in 1999 after an 80-year run, a dedicated group of its master craftsmen refused to let the legacy die. In 2000, these artisans successfully acquired the rights to the name and opened a brand new, smaller-scale studio in Fukutsu City, ensuring that the historic craft of Fukuoka layered glass continues to be produced to this very day.

About the Region

Japanese Glass

Japanese glass brings together a wide range of approaches, from practical tableware to expressive decorative objects and individually designed studio work. Its modern history is not a single story of export production: manufacturers developed different techniques, ranges and markets, with industrial glassmaking and handworked art glass existing alongside one another.

Among the distinctive forms associated with Japanese decorative glass of the mid-twentieth century are substantial vases and bowls with layered colour, clear outer casings and flowing, asymmetrical outlines. Pulled rims, twisting bodies and contrasting layers can give these pieces a strong sculptural presence. These are important strands of Japanese design, rather than features shared by every Japanese maker or period.

Iwatsu Glass is represented by its Hineri and Art Glass ranges, including twisting, lobed forms and prominently pulled rims. Sanyu Glass offers another approach to layered colour and decorative form. The individual histories of Hokuyo Glass, Multi Glass and Tajima Glass add further variety, and their collection pages provide more specific context.

Decorative glass developed alongside continued investment in everyday glassware. The histories of the companies that became Toyo-Sasaki, for example, document automated tumbler production and the development of toughened drinking glasses during the same post-war decades. This wider background matters when considering the diversity of Japanese glass, rather than treating all production as one export-led style.

Surviving paper and foil labels can provide useful evidence, but their wording needs to be read carefully: a name may identify a maker, range, distributor or export brand. Labels can also be lost over time. An unsigned piece is not automatically Japanese, just as a heavy, colourful form is not automatically Italian Murano. Attribution is strongest when labels, contemporary catalogues and documented examples can be considered together, with uncertainty made clear where evidence is limited.

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