Ercole BarovierPezzato, 1956
Ercole BarovierPezzatoBarovier & Toso, 1956
Glass vessel crafted with the use
of red and lattimo patches of glass, sommersi in opaline glass.
10 in. high (25.4 cm)
Exhibitions:
1993, Venice, L’Arte dei Barovier Vetrai di Murano 1866-1972,
Querini Stampalia;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
A. Dorigato, 1989, p. 139;
M. Heiremans, 1989, n. 52;
M. Barovier, 1993, p. 171;
F. Deboni, 1996, n. 53;
M. Heiremans, 1996, nn. 160, 161;
Olnick Spanu, 2000, n. 126;
Olnick Spanu, 2001, n. 164.
Glass vase composed of green, cristallo, and amethyst glass patches arranged in a herringbone pattern.
9 in. high (23 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.
Vase composed of grey and red triangular shaped transparent glass patches sommersi in cristallo.
12 in. high (30 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.
Cylindrical vase composed of two alternating glass bands. One band is made of circular cristallo, lattimo and blue tessere, the other is Diamond-shaped cristallo and black tessere.
9 in. high (23 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.
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 BarovierPezzato, 1956
Ercole BarovierNeolitico, 1954
Ercole BarovierNeoliticoBarovier & 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.
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 BarovierNeolitico, 1954
Ercole BarovierEugeneo, 1951
Ercole BarovierEugeneoBarovier & 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
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 BarovierEugeneo, 1951
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
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.