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Barovier Mirror-Engraved Murano Glass w/ Gold Italian Serving Tray, 1940s

$781.80
£578.52
€650
CA$1,069.81
A$1,165.46
CHF 615.48
MX$13,991.06
NOK 7,841.98
SEK 7,167.27
DKK 4,952.53

About the Item

Marvelous tiny rectangular-shaped serving tray in a stunning combination of mouth-blown Murano glass with 24k gold specks inside, acid-etched mirrored glass, and gilt metal handles. This gorgeous piece was produced in Italy during the 1940s by the master Murano glassmaker Ercole Barovier. In fabulous condition, with no chips or cracks. Its perfect, petite proportions and exceptional state of preservation make this tray incredibly elegant and unique. The tray features a twisted round frame in blown glass with gold particles inside, enhancing the light reflections. The base is made of acid-etched mirrored glass depicting a romantic Venetian scene with two lovers set in nature, with birds flying on the horizon, symbolizing freedom. An incredibly beautiful piece, perfect for elevating a Mid-Century, Art Deco, or contemporary interior. Dimensions (cm): Depth - 25 Width - 33 Height - 4 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 Nicol˜. 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. Ercole maintained the artistic direction of the new company until 1972. Over the course of his 50-year activity, he invented numerous decorative techniques which contributed significantly to the renovation of art glass. Already in the Twenties, he obtained great success; first with the murrine vessels, then with totally original creations such as the primavera glass collection (1929-30). From the beginning of the Thirties, he dedicated himself entirely to experimenting with new multi-coloured effects, in particular, he perfected the colorazione a caldo senza fusione technique which he first used in 1935-1936 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 post-war period his interest turned specifically to the field of traditional techniques, which he continued to re-interpret through his very last creations with the series a tessere in 1972. In the Fifties, his work distinguished itself both for the vivid quality of its colours as well as for the singularity of the materials which were noted for the roughness of their surfaces like the Barbarici which sometimes were modelled in primitive forms like the Eugenei and Aborigeni. During the Sixties and Seventies, he gave new interpretations of his a tessere glass with the Dorici, Caccia, Rotellati and other series which were characterized by unusual colour combinations.

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