Ercole BarovierPrimavera, 1929-1930
Ercole BarovierPrimaveraVetreria Artistica Barovier, 1929-1930
Compote in primavera glass with applied leaves and trim in black glass. Primavera glass, a milky- looking seemingly craquelé glass, had a very limited production. Its composition was the result of an accidental mixture of chemicals that was impossible to replicate.
8 1/2 in. high (21.6 cm)
Exhibitions:
1930, Monza, 4th Esposizione Internazionale delle Arti Decorative
e Industriali Moderne;
1930, Venice, 17th 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:
La Casa Bella, 1930, May, pp. 50, 51;
La Casa Bella, 1930, June, pp. 56, 57;
A. Dorigato, 1989, pp. 18, 19;
M. Barovier, 1993, n. 92;
M. Heiremans, 1993, n. 34;
R. Barovier Mentasti, 1994, n. 21;
Olnick Spanu, 2000, n. 7;
Olnick Spanu, 2001, n. 10.
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.
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.
Ercole BarovierPrimavera, 1929-1930
Carlo ScarpaLattimo, 1929
Carlo ScarpaLattimoMaestri Vetrai Muranesi Cappellin & C., 1929
Globular lattimo glass vase with oxidized gold leaf applications. Rim around the mouth in red pasta vitrea.
5 1/8 in. high (13 cm)
Exhibitions:
1930, Monza, 4th Esposizione Internazionale delle Arti Decorative e Industriali Moderne; 1931, Amsterdam, Exhibition of modern Italian glass, ceramic, and artistic lacework, Stedelijk Museum; 2000, New York, Venetian Glass, Museum of Arts & Design; 2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
M.V.M. Catalogue, n. 5932;
Artisti italiani…, 1929;
Domus, 1929, April, p. 35;
Domus, 1929, October, p. 30, 31;
Domus, 1930, January, p. 39;
Mostra di vetri…, 1931, p. 21;
M. Karasik, 1989, n. 1;
M. Barovier, 1991, nn. 5, 6, pp. 51, 53;
M. Heiremans, 1993, n. 77;
F. Deboni, 1996, n. 63;
M. Heiremans, 1996, n. 25;
M. Barovier, 1997, pp. 196, 197;
M. Barovier, 1998 (b), pp. 10, 11;
M. Barovier, 1999, p. 141;
Olnick Spanu, 2000, n. 29;
Olnick Spanu, 2001, n. 48.
Carlo Scarpa 1906–1978
Born in Venice, Carlo Scarpa graduated from the Accademia di Belle Arti in Venice in 1926. Soon after his graduation he began work at M.V.M. Cappellin, where he soon replaced Vittorio Zecchin as artistic director. Following the direction laid down by Zecchin, he initially created transparent blown-glass pieces with essential forms, in particular the pieces exemplified by their conic base. Scarpa later designed light glass pieces in brightly colored pasta vitrea, or decorated fenici. Deservedly famous was the refined collection of lattimi decorated with gold or silver leaf, which he presented for the first time in Monza in 1930 together with the canne verticali and millefiori glass works. Giacomo Cappellin closed the workshop in 1932 for bankruptcy, putting an end to the collaboration with Carlo Scarpa. In 1934, Scarpa became the artistic director of Venini & C., where he continued to work through 1947. Alongside Paolo Venini, who often participated in the design of glass, Carlo Scarpa experimented with the vast potential of glass, using and innovating many traditional techniques, by which he created extraordinary modern pieces. After the mezza filigrana glass works came the sommersi, the pasta vitrea inspired by Chinese ceramic motifs, the corrosi, the battuti, the vessels a fasce colorate, a pennellate, the variegati, and the famous multicolored murrine with the surfaces finished at the carving wheel. After World War II, Carlo Scarpa worked almost exclusively as an architect and teacher.
Maestri Vetrai Muranesi Cappellin & C. 1925–1932
M.V.M. Cappellin & C. was founded in 1925 by Giacomo Cappellin after the closing of Cappellin Venini & C. Vittorio Zecchin, a painter from Murano who had worked for Cappellin Venini, continued his collaboration with Cappellin for a short time, designing soffiati, blown glass pieces characterized by delicate colors and pure lines. At the end of 1926, following Zecchin's departure, the young Carlo Scarpa took over the artistic direction of the company. Initially, he proceeded along the course taken by his predecessor, creating lightweight blown pieces with simple geometric forms. These were followed by many collections of refined elegance characterized by various transparent textures and often distinguished by vivid colors. Despite the remarkable success at the 1930 Biennale di Monza, M.V.M. Cappellin & C. was forced to close in January 1932. This was most likely the result of inefficient financial management.
Carlo ScarpaLattimo, 1929
Ercole BarovierPrimavera, 1929–1930
Ercole BarovierPrimaveraVetreria 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.
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.
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.
Ercole BarovierPrimavera, 1929–1930
Carlo ScarpaLattimi, 1929-1930
Carlo ScarpaLattimiMaestri Vetrai Muranesi Cappellin & C., 1929-1930
Two vases in lattimo glass with applications of oxidized gold and silver leaf.
6 5/8 in. high (16.8 cm)
8 11/16 in. high (22.1 cm)
Exhibitions:
1930, Monza, 4th Esposizione Internazionale delle Arti Decorative e Industriali Moderne; 1931, Amsterdam, Exhibition of modern Italian glass, ceramic, and artistic lacework, Stedelijk Museum; 2000, New York, Venetian Glass, Museum of Arts & Design; 2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
M.V.M. Catalogue, n. 6015;
Artisti italiani…, 1929;
Domus, 1929, April, p. 35;
Domus, 1929, October, p. 30, 31;
Domus, 1930, January, p. 39;
Mostra di vetri…, 1931, p. 21;
M. Karasik, 1989, n. 1;
M. Barovier, 1991, nn. 5, 6, pp. 51, 53;
M. Heiremans, 1993, n. 77;
F. Deboni, 1996 n. 63;
M. Heiremans, 1996, n. 25;
M. Barovier, 1997, pp. 196, 197;
M. Barovier, 1998 (b), pp. 10, 11;
M. Barovier, 1999, p. 141;
Olnick Spanu, 2000, n. 30;
Olnick Spanu, 2001, n. 49.
Carlo Scarpa 1906–1978
Born in Venice, Carlo Scarpa graduated from the Accademia di Belle Arti in Venice in 1926. Soon after his graduation he began work at M.V.M. Cappellin, where he soon replaced Vittorio Zecchin as artistic director. Following the direction laid down by Zecchin, he initially created transparent blown-glass pieces with essential forms, in particular the pieces exemplified by their conic base. Scarpa later designed light glass pieces in brightly colored pasta vitrea, or decorated fenici. Deservedly famous was the refined collection of lattimi decorated with gold or silver leaf, which he presented for the first time in Monza in 1930 together with the canne verticali and millefiori glass works. Giacomo Cappellin closed the workshop in 1932 for bankruptcy, putting an end to the collaboration with Carlo Scarpa. In 1934, Scarpa became the artistic director of Venini & C., where he continued to work through 1947. Alongside Paolo Venini, who often participated in the design of glass, Carlo Scarpa experimented with the vast potential of glass, using and innovating many traditional techniques, by which he created extraordinary modern pieces. After the mezza filigrana glass works came the sommersi, the pasta vitrea inspired by Chinese ceramic motifs, the corrosi, the battuti, the vessels a fasce colorate, a pennellate, the variegati, and the famous multicolored murrine with the surfaces finished at the carving wheel. After World War II, Carlo Scarpa worked almost exclusively as an architect and teacher.
Maestri Vetrai Muranesi Cappellin & C. 1925–1932
M.V.M. Cappellin & C. was founded in 1925 by Giacomo Cappellin after the closing of Cappellin Venini & C. Vittorio Zecchin, a painter from Murano who had worked for Cappellin Venini, continued his collaboration with Cappellin for a short time, designing soffiati, blown glass pieces characterized by delicate colors and pure lines. At the end of 1926, following Zecchin's departure, the young Carlo Scarpa took over the artistic direction of the company. Initially, he proceeded along the course taken by his predecessor, creating lightweight blown pieces with simple geometric forms. These were followed by many collections of refined elegance characterized by various transparent textures and often distinguished by vivid colors. Despite the remarkable success at the 1930 Biennale di Monza, M.V.M. Cappellin & C. was forced to close in January 1932. This was most likely the result of inefficient financial management.
Carlo ScarpaLattimi, 1929-1930
Vittorio ZecchinNeri e rossi, ca. 1925
Vittorio ZecchinNeri e rossiMaestri Vetrai Muranesi Cappellin & C., ca. 1925
Vessels in amethyst glass with trim
in red pasta vitrea.
Acid stamped: M.V.M. Cappellin Murano.
5 5/8 in. high (14.3 cm)
9 5/8 in. high (24.5 cm)
2 3/4 in. high (7 cm)
Exhibitions:
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu,
Spazio Oberdan.
Bibliography and comparative texts:
Catalogue M.V.M., n. 5677;
H. Ricke, E. Schmitt, 1996, p. 16;
Olnick Spanu, 2001, n. 12.
Vittorio Zecchin 1878–1947
Painter, decorator, and designer Vittorio Zecchin was the son of a glassblower from Murano. Upon graduating from the Accademia di Belle Arti di Venezia, he joined the Secessionist movement of Cà Pesaro where he showed his paintings inspired by the Viennese movement on many occasions. In 1913, in Munich, together with Teodoro Wolf Ferrari, he exhibited glass panels and vessels a murrine made by the Artisti Barovier, which represented the attempt to bring the Secessionist style to Murano glass. From 1921 to 1925, he was artistic director of the Vetri Soffiati Muranesi Cappellin Venini & C., where he created lightweight glass pieces, classically inspired and delicately colored, which earned him immediate success in Italy and abroad. Inspired by the styles painted in the works of sixteenth-century painters in the Veneto, these vessels were the first modern works in Murano glass. After a short period as artistic director of the Maestri Vetrai Muranesi Cappellin & C., he collaborated with S.A.L.I.R. in the '30s, providing drawings for glass engraving and personally decorating glass with enamels. He occasionally worked for Ferro Toso (1930), A.VE.M. (1932), and Seguso Vetri d'Arte (1933-34). At Fratelli Toso (1938), he created the elegant goblets Leggerissimi. During the '20s and '30s, Zecchin also designed tapestries, mosaics, embroidery, ceramics, furniture, silverware, all of which he exhibited at the Biennale di Venezia and the Biennale di Monza. During the last years of his life, he dedicated himself to teaching.
Maestri Vetrai Muranesi Cappellin & C. 1925–1932
M.V.M. Cappellin & C. was founded in 1925 by Giacomo Cappellin after the closing of Cappellin Venini & C. Vittorio Zecchin, a painter from Murano who had worked for Cappellin Venini, continued his collaboration with Cappellin for a short time, designing soffiati, blown glass pieces characterized by delicate colors and pure lines. At the end of 1926, following Zecchin's departure, the young Carlo Scarpa took over the artistic direction of the company. Initially, he proceeded along the course taken by his predecessor, creating lightweight blown pieces with simple geometric forms. These were followed by many collections of refined elegance characterized by various transparent textures and often distinguished by vivid colors. Despite the remarkable success at the 1930 Biennale di Monza, M.V.M. Cappellin & C. was forced to close in January 1932. This was most likely the result of inefficient financial management.