Photograph by Luca Vignelli

Ercole BarovierBarbarico, 1951

Ercole BarovierBarbaricoBarovier & 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.

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.

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.

Ercole BarovierBarbarico, 1951

Photograph by Luca Vignelli

Ercole BarovierBarbarico, 1951

Ercole BarovierBarbaricoBarovier & 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.

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.

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.

Ercole BarovierBarbarico, 1951

Photograph by Luca Vignelli

Ermanno TosoKiku, 1959-1960

Ermanno TosoKikuFratelli Toso, 1959-1960

Globular glass vase crafted with aubergine and lattimo pinwheel murrine, most of which have a red glass core.

7 in. high (17.8 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:
M. Heiremans, 1989, nn. 163, 164;
Olnick Spanu, 2000, n. 120;
Olnick Spanu, 2001, n. 159.

Ermanno Toso  1903–1973

Born on Murano, Ermanno Toso began to work at the Fratelli Toso workshop in 1924, where he was later to become a partner. In 1936, he was named artistic and marketing director of the company. During the period preceding World War II, he created thick glass pieces using traditional decorative techniques that were characterized by simple and solid shapes inspired by the Novecento style. During the '50s, he created a collection of extraordinarily lightweight glass pieces based on a modern interpretation of classical techniques, such as filigrana and murrina. During the '60s, his creative talent led him towards an absolute multicolored sobriety.

Fratelli Toso  1954–1982

Founded in 1854 by the brothers Ferdinando, Carlo, Liberato, Angelo, Giovanni, and Gregorio Toso, Fratelli Toso initially produced pharmaceutical bottles for domestic use. These were soon followed by reproductions of antique glass pieces. In the early 1900s, the company produced objects and chandeliers in the floral style executed with the murrine technique. In 1912 and 1914, Fratelli Toso obtained great success at the Biennale di Venezia by presenting works by the Norwegian artist Hans Stoltberg Lerche. In 1934, however, a remarkable change was noted in their work presented at the Biennale di Venezia. In 1936, the artistic direction of the company was assumed by Ermanno Toso, who progressively revisited the techniques of Murano glass, reinterpreting them in a personal style. These works received widespread acclaim, especially after World War II. During the '60s and '70s, the works of Renato, Giusto and Rosanna Toso, who often used transparent glass, brought a decidedly modern look to the company. The furnace was closed in 1982.

Ermanno TosoKiku, 1959-1960

Photograph by Luca Vignelli

Ermanno TosoMurrine spiraliformi, 1960-1962

Ermanno TosoMurrine spiraliformiFratelli Toso, 1960-1962

Bowl composed of green, blue, and yellow spiraled murrine.
Original paper label: Murano Glass Made in Italy.

5 1/2 in. high (14 cm)
Exhibitions:
1962, Venice, 31st Biennale Internazionale d’Arte;
1963, Venice, Exhibition of Murano Glass, Opera Bevilacqua La Masa;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparison texts:
Mostra del vetro…, 1963;
M. Heiremans, 1989, nn. 158, 159;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 141;
F. Deboni, 1996, n. 170;
M. Heiremans, 1996, n. 219;
M. Barovier, 1999, p. 258;
Olnick Spanu, 2000, n. 119;
Olnick Spanu, 2001, n. 158.

Ermanno Toso  1903–1973

Born on Murano, Ermanno Toso began to work at the Fratelli Toso workshop in 1924, where he was later to become a partner. In 1936, he was named artistic and marketing director of the company. During the period preceding World War II, he created thick glass pieces using traditional decorative techniques that were characterized by simple and solid shapes inspired by the Novecento style. During the '50s, he created a collection of extraordinarily lightweight glass pieces based on a modern interpretation of classical techniques, such as filigrana and murrina. During the '60s, his creative talent led him towards an absolute multicolored sobriety.

Fratelli Toso  1954–1982

Founded in 1854 by the brothers Ferdinando, Carlo, Liberato, Angelo, Giovanni, and Gregorio Toso, Fratelli Toso initially produced pharmaceutical bottles for domestic use. These were soon followed by reproductions of antique glass pieces. In the early 1900s, the company produced objects and chandeliers in the floral style executed with the murrine technique. In 1912 and 1914, Fratelli Toso obtained great success at the Biennale di Venezia by presenting works by the Norwegian artist Hans Stoltberg Lerche. In 1934, however, a remarkable change was noted in their work presented at the Biennale di Venezia. In 1936, the artistic direction of the company was assumed by Ermanno Toso, who progressively revisited the techniques of Murano glass, reinterpreting them in a personal style. These works received widespread acclaim, especially after World War II. During the '60s and '70s, the works of Renato, Giusto and Rosanna Toso, who often used transparent glass, brought a decidedly modern look to the company. The furnace was closed in 1982.

Ermanno TosoMurrine spiraliformi, 1960-1962

Photograph by Luca Vignelli

Archimede SegusoRitorto a coste, 1950

Archimede SegusoRitorto a costeVetreria Archimede Seguso, 1950

Vase in translucent red glass with twisted ribbing and inclusions of gold leaf.

11 3/8 in. high (28.9 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:
U. Franzoi, 1991, n. 35;
R. Barovier Mentasti, 1995, n. 3;
Olnick Spanu, 2000, n. 117;
Olnick Spanu, 2001, n. 157.

 

A vessel in transparent red glass with one large aperture, two side lips and a stylized handle; inclusions of gold leaf throughout.

11 1/2 in. high (29 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.

Archimede Seguso  1909–1999

Born on Murano and the son of the maestro Antonio Seguso, Archimede Seguso began work at a very early age in the Vetreria Artistica Barovier, where his father was a partner. In 1933, he was one of the founding partners of the Artistica Vetreria e Soffieria Barovier Seguso & Ferro, which was later to become the Seguso Vetri d'Arte. Here, Archimede worked asmaestro of the principal team crafting the pieces designed by Flavio Poli, and later his own pieces inspired by the Novecento style. He sold his share of the workshop to his partners and, in 1946, founded a new workshop, the Vetreria Artistica Archimede Seguso, where he was first maestro and creator of almost all the works produced there. The first glass pieces were still inspired by the Novecento, as were his sculptures modeled in hot glass; at the same time he experimented with thin blown glass textured in many ways, adapting ancient decorative techniques to the styles of the '50s such as, for example, the variations of filigrana that he presented throughout the decade (Merletti, Composizione Lattimo, Piume, etc.). During the '60s and '70s, he created intensely colored glass works such as the colori sovrapposti and the fasce sovrapposte, and further pushed the filigrana technique with his Spinati, and a petali glass pieces. Later on, he based his production on strong contrasting colors. Among his last works is the series of sculptures called Rotture, conceived as original works and made in solid massiccio sommerso glass, a realization of the profound reflections of this artist who later died on the island of Murano.

Vetreria Archimede Seguso  1946–

Vetreria Archimede Seguso was founded in 1946 by Archimede Seguso, partner and glassmaster at Seguso Vetri d'Arte until 1942. Seguso was not only the tireless creator of almost all the collections produced by Vetreria Archimede Seguso, he executed his own works and experimented with new techniques and materials. He participated in the Biennali di Venezia and the Triennali di Milano from 1950 on, presenting, among other things, his own personal interpretations of the ancient technique of filigrana. His interpretaions, vessels often enriched with applications of gold leaf, he called Merletti. The company is now run by his son Gino Seguso, with the assistance of his grandson Antonio Seguso.

Archimede SegusoRitorto a coste, 1950