Barovier Toso Graffito

Choose from an assortment of styles, material and more with respect to the barovier toso graffito you’re looking for at 1stDibs. Frequently made of glass, blown glass and art glass, every barovier toso graffito was constructed with great care. You’ve searched high and low for the perfect barovier toso graffito — we have versions that date back to the 20th Century alongside those produced as recently as the 20th Century are available. A barovier toso graffito is a generally popular piece of furniture, but those created in mid-century modern styles are sought with frequency.

A barovier toso graffito can differ in price owing to various characteristics — the average selling price 1stDibs is $750, while the lowest priced sells for $500 and the highest can go for as much as $3,566.

Ercole Barovier left an indelible mark on the world of Italian modernist glassmaking — his vibrant use of color and exploration of innovative techniques yielded glass vases, chandeliers and other lighting and decorative objects that stand out in any interior many decades later.

Barovier grew up on the Venetian island of Murano, a region of the world famed for its production of artisanal glassworks. By the time he was born, in 1889, his family had already been in the glassmaking business for centuries, as the Barovier dynasty began in 1295. Nonetheless, Barovier did not choose glassmaking as his first career — he instead studied medicine as a young man before going on to work as a radio operator in the first World War.

The year after the war ended, Barovier joined his family’s business (over time, the manufactory’s names have included Fratelli Barovier, Vetreria Artistica Barovier & C. and Artisti Barovier). He was appointed artistic director in 1926, and subsequently managed the business with his brother Nicolò. From 1927 onward, Barovier was the chief designer at his family’s glassworks. He became sole proprietor in 1934, and in 1936, merged his own family business with the Venetian glass factory SAIAR Ferro Toso. They renamed the company Barovier & Toso, a name under which the company still operates today.

Early in his career, Barovier garnered praise for his work with murrine glass, one of the traditional arts for which Murano is widely known. In the 1930s, he began pushing the boundaries of tradition and experimenting with new ways to bring color into his glass objects.

Ercole Barovier is credited with having invented colorazione a caldo senza fusione, a method of introducing metals and oxides into glassworks. His style became defined by his use of riotous color and later, audacious forms. He created sculptures, table lamps and other pieces using mosaic techniques to add a kaleidoscope of striking hues to his work. Barovier had a particular gift to bring out glass’s unique properties to refract and filter light in every shade of the rainbow.

Barovier took endless inspiration from the world around him, from the play of light reflecting off the canals near his home to artworks from classical antiquity. Prior to World War II, his works included naturalistic designs including floral sconces, vine-wrapped chandeliers and sea life-inspired bowls (the manufactory was known for sinuous lighting pieces that are often described as embodying “Liberty Style” — the Italian term for Art Nouveau).

Barovier focused on reinterpreting classical techniques and styles in the postwar years. Geometrically patterned vases that recalled Ancient Greek pottery in their bold forms — as well as precisely detailed Art Deco glass serving bowls — are among his characteristic works from this period. Gold leaf was applied as a decorative flourish, and Barovier worked to ensure that his pieces reflected contemporary trends. His mid-century glass is particularly sought after by today’s collectors.

Up until his retirement in 1972, Barovier continued his exploration of the creative potential in glassmaking. His fearlessness in combining cutting-edge techniques with deeply traditional practices led him to create over 25,000 designs over the course of his life.

Barovier’s work garnered international acclaim. He received many awards and accolades, including awards at the Milan Triennial exhibitions in 1933 and 1954, the Paris Universal Exhibition in 1937, and the Compasso d'Oro in 1956.

On 1stDibs, find vintage Ercole Barovier lighting, decorative objects and serveware.

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by legendary manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.