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Artisti Barovier Murrine Cobalt Blue Floreali Vase with Handles, Italy, c. 1914

About the Item

Artisti Barovier Murrine Cobalt Blue Floreali Vase with Handles, Italy, c. 1914. internally decorated glass with murrines and polychrome threads Height: 5.75 inches. Artisti Barovier was founded in 1884 using the former furnaces of Salviati, following Antonio Salviati’s decision to cease their own production of glassworks. As part of the agreement to take over the furnaces it was agreed that the new Artisti Barovier would reserve part of their production for Salviati, so that the latter could continue retailing a variety of new designs under its own name. In the highly competitive context of Murano, Artisti Barovier quickly distinguished themselves for their refined designs based on 19th Century traditional glass making, as well as their new interpretations of the glass murrina. Central here were the roles of Vittorio Zecchin and Teodoro Wolf Ferrari, whose compelling glass panels in coloured murrine, produced with the aid of Artisti Barovier, were to play a large influence in the direction of the firm. Examples such as ‘Il Barbaro’, the flower basket, and the ‘Ritratto di Donna’, now in the permanent collection of the Glass Museum in Murano and dated as early as 1914, showed a new interpretation of how glass murrina could be used to compose not only decorative patterns but a whole figurative composition, far more complex than anything achieved or attempted before. Artisti Barovier fully comprehended the immense potential of elevating the use of this ancient technique and the extensive experiments the furnace undertook in this regard were unprecedented. Part of the difficulty in executing a complex figurative scene using glass murrine was foreseeing how the composition would endure all the necessary alterations through the process without losing the decorative scheme. The Barovier excelled at the technique and between 1914 and 1923 created various examples with vivid coloured murrine vessels depicting flowers, vine with pink grapes, animals, geometric designs and more, some based on models by Vittorio Zecchin, others of Artisti Barovier’s own conception. A common thread between these and Vittorio Zecchin were strong stylistic similitudes with Secessionist art but it would be inaccurate to solely attribute these similarities to an unilateral influence of the artistic group to the Muranese spirit; indeed if the Muranese were influenced by the artistic group presentation at the Biennale of 1910, Vittorio Zecchin and Teodoro Wolf Ferrari had, in their turn, also exhibited in Munich in 1913, sharing their own glass art amongst the sphere of international art exhibitions. Literature: Fragili e Supremamente Inutili, Figliola, pg. 11 (similar cobalt example) Barovier, Vetri liberty. The Murano experience, Il Sole 24 Ore, Milan 2013, pp. 42-51. (model variant illustrated) M. Barovier, Venetian Art Glass. An American Collection 1840-1970, Arnoldsche, Stuttgart 2004, pp. 75, 82. (model variant illustrated) The Art of the Barovier glassmakers of Murano, edited by Marina Barovier, Arsenale, Venice 1993, pp. 47, 85 (model variant illustrated).
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