Tea Morosati pendant light by Stilnovo with Barovier & Toso glass, Italy, 1964

Though Bruno Gatta founded Stilnovo way back in 1946, it is still one of the most instantly recognizable names in lighting. Gatta (1904–76) began his business in Milan, and, like many European creatives designing furniture and decor in the wake of World War II, he leaned toward the new wave of mass-market and streamlined styles. In fact, Stilnovo loosely translates to “new style” in Italian, and vintage Stilnovo chandeliers, floor lamps and other lighting have endured as a practical choice for those looking to bring innovative and forward-thinking design into their homes.

Soon after Stilnovo was established, Gatta’s lighting fixtures were applauded throughout Europe for their novel industrial materials as well as their unique yet functional shapes. Italy during the mid-20th century was completely revolutionary, and Bruno Gatta and Stilnovo’s head designer, Angelo Gaetano Sciolari, helped shape the era.

When the 1960s arrived, Stilnovo was experiencing such a boom that the company opened a new production plant in Lainate. One of the brand’s most famous pieces, Giovanni Luigi Gorgoni’s quirky 1965 Buonanotte spherical table lamp, became a best seller.

Gatta partnered with some of the most well-known names in design, including Ettore Sottsass, Achille and Pier Giacomo Castiglioni, Joe Colombo and Gae Aulenti. Sottsass’s pieces for Stilnovo, including the 1977 Valigia four-legged table lamp, the 1968 Lampros chandelier and Manifesto ceiling light, and the Castiglionis’ 1957 Saliscendi pendant light fixtures are some of the brand’s most recognizable to date. In 1978, De Pas, D’Urbino and Lomazzi designed the Fante lamp with an adjustable reflector that playfully recalls a broad-brimmed hat.

Stilnovo’s designs, including Danilo and Corrado Aroldi’s flexible Periscope table lamp, were featured in the 1972 exhibition “Italy: The New Domestic Landscape” at the Museum of Modern Art. While Stilnovo continued to operate with new designer collaborations after Gatta’s death, it closed its doors in 1988.

Italian art director Massimo Anselmi acquired the company in 2012 and rereleased several of Stilnovo’s most celebrated pieces. Then in 2019, lighting giant Linea Light Group purchased Stilnovo and relaunched its classic designs with contemporary touches like LED lighting systems.

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Partnerships come and go within the community of glass-making artisans on the Venetian island of Murano, where business relationships seem as complex as the shifting alliances in the notoriously acrimonious Italian parliament. Formed in 1942 by members of families with centuries of experience in the craft, Barovier&Toso has proven to be one of the most enduring and prosperous Italian glass manufactories of recent decades. Under the nearly 50-year artistic directorship of cofounder Ercole Barovier (1889–1974), the company created buoyant traditional pieces such as chandeliers, sconces and other lighting fixtures, and it pioneered an array of innovative modernist glass designs with bold colors, patterns and surfaces.

The Barovier dynasty began in 1295, when Jacobello Barovier, mentioned in historical documents as a master glassblower, began pinching, cutting, blowing and twisting a molten mixture of sand and minerals into incandescent works of art. It remained entirely family-owned until the mid-20th century, when it merged with another glassworks to become Barovier&Toso.

To appeal to gentler, more conservative tastes, Barovier&Toso produced a range of lilting, sinuous lighting pieces that are often described as embodying “Liberty Style” — the Italian term for Art Nouveau, taken from the name of famed London department store Liberty & Co., which promoted 19th-century organic textile designs and Arts and Crafts-style furniture in the manner of William Morris. The hallmarks of the style in Barovier&Toso works are elements of glass in the shape of thick leaves, fronds and flower petals, deployed along with other naturalistic ornament in sconces, pendants and chandeliers.

Ercole Barovier began his personal aesthetic transition toward modernism in the 1930s with his Primavera series of vases and animal sculptures — idiosyncratic milky-white and clear glass filled with tiny bubbles and hairline interior fissures that he produced for Artisti Barovier, a firm headed by his father and uncle. Later, with Barovier&Toso, he would explore such novel styles as the mosaic-like Pezzato glass; fluid Spiral patterns; the pebbly textured Barbarico line and the complex, layered and highly colored abstractions of the Oriente series of vases and bowls.

Traditional or modern, Barovier&Toso — still under family control — has produced one of the finest and most diverse catalogues of Murano glass in the last 100 years.

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