Ercole Barovier 1889–1974

Entrepreneur and designer Ercole Barovier was the son of Benvenuto Barovier. At age 30, he became a partner in his father’s company, the Vetreria Artistica Barovier & C. After becoming its artistic director in 1926, he took over its management with his brother. He became sole proprietor in 1936, engineering the fusion between his own glass workshop and the S.A.I.A.R. Ferro-Toso. In 1942, the new company was renamed Barovier & Toso and Ercole maintained artistic direction until 1972. His first major successes date back to the ’20s; first with the murrine vessels, then with totally original creations such as the Primavera glass collection of 1929-30. After the 30s, he dedicated himself entirely to experimenting with new multi-colored effects. In addition he perfected the colorazione a caldo senza fusione which he first used in 1935-36 to create the series Crepuscolo, Autunno Gemmato, Marina Gemmata, and Laguna Gemmata. Before World War II, he preferred soft shapes and rather thick materials, whereas in the postwar period his interest turned specifically to the field of traditional techniques, which he continued to reinterpret through his very last creations with the series A Tessere in 1972. In the ’50s, his work distinguished itself, both for the vivid quality of its colors as well as for the singularity of the materials noted for the rawness of their surfaces like the barbarici. During the ’60s and ’70s, he gave new interpretations of his a tessere glass with the Dorici, Caccia, Rotellati, and other series, which were characterized by unusual color combinations.

Photograph by Luca Vignelli
Neolitico
Barovier & Toso, 1954

Ercole Barovier NeoliticoBarovier & Toso, 1954

A globular footed glass vase, the brown festoon decoration obtained with the technique colorazione a caldo senza fusione.

7 7/8 in. high (20 cm)
Exhibitions:
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
R. Aloi, 1955, p. 42;
W. Neuwirth, 1987, n. 85;
A. Dorigato, 1989, n. 86;
M. Heiremans, 1989, n. 41;
M. Barovier, 1993, n. 136;
Olnick Spanu, 2000, n. 124;
Olnick Spanu, 2001, n. 163.

 

Two tall glass vessels. The vessel on the left is composed of intersecting cristallo and aquamarine canes; the vessel on the right is composed of intersecting cristallo and amethyst canes.

16 in. high (41 cm)
14 in. high (36 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986,
p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Barovier & Toso  1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso.

Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Neolitico
Barovier & Toso, 1954
Photograph by Luca Vignelli
Eugeneo
Barovier & Toso, 1951

Ercole Barovier EugeneoBarovier & Toso, 1951

Footed vessel with a vertical aperture to create a handle composed of strongly iridized pearl-colored glass, the surface coloring obtained with the technique of colorazione a caldo senza fusione.

14 1/4 in. high (36.2 cm)
Exhibitions:
1952, Venice, 26th Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
B. Nerozzi, 1987, n. 66;
A. Dorigato, 1989, nn. 80-81;
M. Heiremans, 1989, n. 40;
M. Karasik, 1989, n. 35;
R. Barovier Mentasti, 1992, n. 86;
L’arte del vetro…, 1992, n. 373;
M. Barovier, 1993, n. 129;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 93;
F. Deboni, 1996, n. 43;
H. Ricke, E. Schmitt, 1996, n. 259;
Olnick Spanu, 2000, n. 123;
Olnick Spanu, 2001, n. 162

Barovier & Toso  1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso.

Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Eugeneo
Barovier & Toso, 1951
Photograph by Luca Vignelli
Barbarico
Barovier & Toso, 1951

Ercole Barovier BarbaricoBarovier & Toso, 1951

Small, cobalt blue glass vessel, the rough gold surface obtained with the application of gold leaf and the technique of the colorazione a caldo senza fusione.

6 1/8 in. high (15.6 cm)
Exhibitions:
1951, Milan, 9th Triennale;
1952, Venice, 26th Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Domus, 1951, October;
R. Aloi, 1952, n. 25;
A. Dorigato, 1989, n. 82;
M. Heiremans, 1989, n. 35;
M. Karasik, 1989, n. 35;
L’arte del vetro…, 1992, n. 374;
M. Barovier, 1993, n. 132;
M. Heiremans, 1993, n. 43;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 92;
F. Deboni, 1996, n. 41;
H. Ricke, E. Schmitt, 1996, n. 258;
R. Barovier Mentasti, 1998, n. 101;
M. Barovier, 1999, p. 195;
Olnick Spanu, 2000, n. 122;
Olnick Spanu, 2001, n. 161.

Barovier & Toso  1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso.

Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Barbarico
Barovier & Toso, 1951
Photograph by Luca Vignelli
Barbarico
Barovier & Toso, 1951

Ercole Barovier BarbaricoBarovier & Toso, 1951

A footed vessel with one large aperture and a pinched mouth. The rough gold surface of the cobalt blue glass vessel is obtained with the application of gold leaf and the technique of colorazione a caldo senza fusione.

11 1/2 in. high (29.2 cm)
Exhibitions:
1951, Milan, 9th Triennale;
1952, Venice, 26th Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Domus, 1951, October;
R. Aloi, 1952, n. 25;
A. Dorigato, 1989, n. 82;
M. Heiremans, 1989, n. 35;
M. Karasik, 1989, n. 35;
L’arte del vetro…, 1992, n. 374;
M. Barovier, 1993, n. 132;
M. Heiremans, 1993, n. 43;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 92;
F. Deboni, 1996, n. 41;
H. Ricke, E. Schmitt, 1996, n. 258;
R. Barovier Mentasti, 1998, n. 101;
M. Barovier, 1999, p. 195;
Olnick Spanu, 2000, n. 121;
Olnick Spanu, 2001, n. 160.

Barovier & Toso  1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso.

Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Barbarico
Barovier & Toso, 1951
Photograph by Luca Vignelli
Primavera
Vetreria Artistica Barovier, 1929–1930

Ercole Barovier PrimaveraVetreria Artistica Barovier, 1929–1930

Footed plate in primavera glass with trim in black pasta vitrea. The primavera glass series, a milky- looking seeminglycraquelé glass, had a very limited production. Its composition was the result of an accidental mixture of chemicals  that was impossible to replicate.

2 3/4 in. high (7 cm)
Ø; 12 7/8 in. (32.7 cm)

Exhibitions:
1930, Venice, 17th Biennale Internazionale d’Arte;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
A. Dorigato, 1989, p. 20, n. 21;
Olnick Spanu, 2001, n. 11.

Vetreria Artistica Barovier  1919–1936

In 1919, Artisti Barovier changed its name to Vetreria Artistica Barovier and several new partners were added. Among them were Ercole Barovier and Nicolò Barovier, Benvenuto Barovier's sons, and Giuseppe Barovier's son Napoleone. In 1926, Ercole and Nicolò Barovier took over the management of the company and both became artistic directors, creating, among other things, sophisticated multicolored vessels a murrine and singular animals in blown glass. After 1932, Nicolò and Ercole Barovier became sole proprietors of the company. Ercole designed many objects that earned the company remarkable success, among them the Primavera series.

A tireless creator of new collections and glass textures, Ercole Barovier dedicated himself to perfecting the colorazione a caldo senza fusione, which he began using during the second half of the '30s. In 1936, after the separation from his brother Nicolò, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier.

Primavera
Vetreria Artistica Barovier, 1929–1930