Furniture

This incredible 'Delfi' dining table designed by Carlo Scarpa and Marcel Breuer is composed of two sculptural Carrara marble bases and a matching thick rectangular marble top which h...

Murano art glass table lamp with avventurina on brass base by Barovier & Toso. Italy, 1950s. Shows age and wear. Lampshade not included.

More than just a bookcase but rather a small architectural masterpiece that is the focal point of any space, the Model 795 bookshelf (sometimes called the “Serie 1935” or “Liberia 19...

Beautiful vintage Murano hand blown pink stripes and gold flecks Italian art glass double opening flower vase. Documented to designer Ercole Barovier, for Barovier e Toso. The vase h...

Mid-Century Italian handblown green glass table lamp in hourglass form, wired to a brass stem and nonfunctioning cupped light switch socket protruding from the top. The transparent g...

3 PAIRS of midcentury Italian large wall sconces with rounded textured clear glass shades and brass mounts. (PRICED PER PAIR)(BAROVIER AND TOSO).

A vintage Mid-Century Modern Italian chandelier made of hand blown smoked Murano glass, designed by Ercole Barovier and produced by Barovier & Toso in good condition. The detailed ta...

Barovier & Toso Murano Clear and light blue Rostrato glass vase, Italy, 1950s Vintage / mid-century / Art Deco Blue Murano art glass vase made wit...

Mid-Century Italian glass table lamp in twisted column form with an extended brass stem topped by an upturned cupped finial, two functioning light sockets with beaded pulls, and scal...

Vase Barovier e Toso.

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa in...

Beautiful and large ( ø 75 cm ) clear art glass "Barrochi" chandelier designed by Barovier and Toso for Compagnia Di Venezia E Murano "CVM" In Italy. This chandelier is handmade in t...

Midcentury Italian Fallen Leaf hand blown green glass table lamp in organic gourd form, connected to a brass stem and functioning cupped light switch socket, with an Art Nouveau-styl...

Very rare, stunning beautiful Italian midcentury wall mirror with an elaborate Murano glass frame. Manufacturer is Barovier & Toso. Made in Italy Very high-quality workmanship with...

"Rostrato" vases are a peculiar 1930s design by Ercole Barovier, then owner and designer of the eponymous brand Barovier & Toso, based on the island of Murano. The brand is still act...

Beautiful vintage Murano hand blown opalescent white, controlled bubbles and gold flecks Italian art glass flower vase. Documented to designer Ercole Barovier, for the Barovier e Tos...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Beautiful antique Murano hand blown Sommerso clear bubbles in champagne or caramel color with gold flecks Italian art glass ashtray. Documented to Venini company, and created by mast...

Great vintage condition with normal trace of age and use for this murano intreccio glass centerpiece designed by Ercole Barovier and produced in Italy during the 40s

Priced Per Item (4 available). Beautiful vintage Murano hand blown green and gold flecks Italian art glass twisting seashell dishes / sculptures. Documented to the Barovier e Toso co...

Barovier e Toso.

Barovier & Toso red and gold ball vase - Italian Murano glass circa 1960 Beautiful red ball vase with gold inclusions by Barovier & Toso, Mu...

Impressive and large 1940's Barovier glass chandelier from Italy, 1940's. Six thick twisted glass arms arch out from an antiqued brass center...

Vintage Murano Pezzato Art Glass Ashtray by Barovier & Toso 1950s A heavy Murano art glass ashtray designed by Ercole Barovier and manufactured by Barovier & Toso, Italy circa 1950s. Heavy hot moulded glass internally decorated with opaline and light green glass plates...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Vase Barovier e Toso Rostrato 1940.

This vase was produced in Italy, more precisely in Murano, Venice by Barovier & Toso, which is an Italian company that specializes in Venetian glass. The vase is in powder pink sub...

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Vintage picture frame with hand blown clear and dark blue Murano "Torciglione" glass border / Designed by Barovier e Toso circa 1960's / Original mark on frame / Made in Italy Measu...

Handcrafted Murano glass table lamp with Rigadin and Bullicante decoration and Avventurina throughout. Base banded in brass. By Barovier & Toso, Italy, 1950s. Shows wear and age. Lam...

Article: Murano glass bowl, ashtray element by Barovier and Toso Origin: Murano, Italy Decade: 1970s This original vintage glass bowl element, ash tray was ...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Flush mount from Barovier&Toso, Italy, circa 1950-1960. Introducing a one-of-a-kind vintage Barovier Toso flush mount! This stunning light fixture is the perfect addition to any h...

Murano blown glass lamp, pink and clear glass with silver leaf to highlight the texture and bubbles. Ribbed and vase shaped. Original gold bras...

Beautiful antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...

Vaso a Bollicine Carlo Scarpa Venini & C. 1932 Measures: height cm 34, diameter cm 25 XVIII Biennale di Venezia del 1932 Bibliography: Murano Mi...

Beautiful and rare, vintage Murano hand blown opalescent and silver flecks Italian art glass flower vase. Documented to designer Ercole Barovier, for the Barovier and Toso company, c...

Article: Murano glass bowl, ashtray element by Barovier and Toso Origin: Murano, Italy Decade: 1970s This original vintage glass bowl element, ash tray was ...

Italian mid century chandelier with 12 Murano glass tubes and 1 big glass plate at the bottom. Set on a chromed steel base with original vintage patina. Light has 4 bulbs. Made by Ba...

handcrafted Murano glass table lamp with Sommerso and bullicante decorative techniques with avventurina throughout. Carved base in gilded wood. By Barovier & Toso, Italy, 1960s. Show...

Beautiful vintage Murano hand blown sky blue and gold flecks Italian art glass decorative bowl, vide-poche, or ashtray. Documented to designer Ercole Barovier for the Barovier e Toso...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

23.6" flush mount from Barovier Toso, Italy circa 1950-1960 Barovier & Toso flush mount or ceiling fixture from glass and brass. Wonderful handmade petal rose colored glass pieces c...

Stunning and elegant Italian Mid-Century Modern chandelier by Barovier e Toso. Having six Murano glass shades with six curved glass leafs. Any amount of chain can be added for custom...

Rare and beautiful, vintage Murano hand blown red and taupe gray triangle Tessere mosaic Italian art glass flower vase. Documented to designer Ercole Barovier, for Barovier e Toso, c...

A beautiful hand blown Italian Sconce featuring overlapping crystal flowers, gold with 23-carat gold leaf fleck inclusions, mounted on a basket frame. The Fixture requires a European...

A round vintage Mid-Century modern Italian raindrop chandelier, pendant made of hand blown smoked Murano glass, designed by Ercole Barovier and pr...

Art Deco 1930s Barovier et Toso Murano glass vase light green with controlled elongated bubbles and gold inclusions. The controlled bubbles near the top are close to circular, but ...

Barovier e Toso mushrooms table lamp 1940 Murano glass brass, Italy.

A rare pendant light designed by Tea Morosati and manufactured by Stilnovo in the early 1960s. This particular Stilnovo lighting fixture has a very elegant brass structure with a di...

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

Beautiful vintage Murano hand blown sky blue and gold flecks Italian art glass scissor cut rim decorative bowl, vide-poche, or ashtray. Documented to designer Ercole Barovier for the...

Massive Barovier & Tosso chandelier, circa 1970. The fixture features more than 113 leaves, as well as replacement leaves. Newly rewired. Custom made steel mounting post for a flush ...

Large snow white Murano flower vase By Barovier e Toso. Italy, 1970s. Signed Barovier Toso Murano and with original label. Hard to find.

A large blue art glass vase from the 'Efeso' series designed by Ercole Barovier in 1964 for Barovier & Toso, Murano, Italy. Thick glass in bright blue w...

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...

Ercole Barovier was born in Murano on June 16, 1889. He completed his classical studies in Venice, and engaged in various activities unrelated to glassmaking to finally land in the V...

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique crea...