Masterworks 
21 November 2017
Masterworks 
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Vetreria Artistica Barovier and Umberto Bellotto

Coppa su stelo

Italy, 1920
bowl in vetro mosaico with polychrome tesserae, wrought iron 52½ h × 17 w × 16 d in (133 × 43 × 41 cm)
estimate: $70,000–90,000
result: $112,500
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provenance: Private Collection, New York
literature: Venetian Art Glass: An American Collection 1840-1970, Barovier, ppg. 70-71 illustrate this example Il Vetro di Murano alle Biennali 1895-1972, Barovier, Barovier Mentasti and Dorigato, pg. 114 illustrates this example

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A Union of Iron and Glass

Umberto Bellotto and Vetreria Artistica Barovier

This Connubio Ferro e Vetro, or union of iron and glass, represents the collaboration of two Venetian masters—Umberto Bellotto and Artistica Barovier—coming together at the height of their artistic powers and influence. The end result is this stunning work, an elegant expression of late Art Nouveau style.

Interestingly, when these Connubio Ferro e Vetro pieces were first presented they were eyed suspiciously by Italian critics who believed that the two materials were incompatible. However, their opinions quickly changed and the critics began describing these pieces as “the blessed union of glass and iron”.

By the 1920s Bellotto was fabricating elegant stands designed to elevate and support refined glass objects, examples of which are rarely seen today. In the present lot we see a Mosaico bowl executed in vibrant colors perched atop a complex and elegant wrought iron stand. The overall impression is of a vessel composed of leaves, flowers and vines offered up to the sky. 

Vetreria Artistica Barovier

Over its long history the Barovier company has had many names and incarnations; it began in 1878 as Fratelli Barovier, changing shortly thereafter to Artisti Barovier, and then becoming Artistica Barovier immediately after the war, in 1919. During this early period the Barovier brothers, Benvenuto and Giuseppe, were at the forefront of an artistic revival of Venetian glass which sought to recapture the technical and artistic glory of the past, while creating radically new designs and techniques. This culminated in a series of murrine vessels of exceptional beauty and technical virtuosity. 

Along with the murine vessels, a wide range of other exquisite works were designed during this period, many of which derived their shapes from classical antiquity but were executed in vibrant colors and experimental materials. Collaboration with other notable Venetian firms and designers also took place in the 1920s including a series of important murrine vessels and bowls presented on elegant wrought iron stands in the Byzantine and Art Nouveau styles by artist and master iron worker Umberto Bellotto.

Lots 36-39 are exquisite examples of the high level of innovation and  craftsmanship taking place at Artistica Barovier between 1920 and 1930.

Additional Works by Vetreria Artistica Barovier

127 Jedd Garet

Stump, Center Structure and Lush Life (three works)

estimate: $200–300

131 Sandro Chia

Mechanical Figure I and II (two works)

estimate: $600–800

134 Laurie Anderson

Mt. Daly/US IV

estimate: $300–500

result: $875

144 Jules Olitski

Graphic Suite II (Orange/Ochre with Pink and Green)

estimate: $700–900

result: $875

145 Ronald Davis

Triangle Slice

estimate: $500–700

147 Jedd Garet

Nice Sky and Blood (two works)

estimate: $500–700

result: $313

148 Mimmo Paladino

Caverne Minacchoise

estimate: $500–700

159 Richard Bosman

Double Trouble

estimate: $400–600

160 Herbert Bayer

Untitled

estimate: $300–500

result: $938

163 Richard Bosman

Adversaries

estimate: $500–700

result: $1,063

170 Ernest Trova

Untitled (from Shadows, Planes and Targets portfolio)

estimate: $500–700

171 Herbert Bayer

Celestial River

estimate: $500–700

result: $512

191 Ronald Davis

Rotation Tilt

estimate: $600–800

result: $813

225 Robert Indiana

The American Four

estimate: $2,000–3,000

result: $2,048

226 Nicholas Krushenick

Untitled (from the R3-67 series)

estimate: $600–800

result: $768

227 Arnaldo Pomodoro

Untitled

estimate: $300–500

result: $407

228 Max Bill

Plate IX, from 11 x 4:4

estimate: $300–500

result: $1,125

236 Robert Kushner

Pomegranates and Lilies, Eve, Climbing Roses and Flowered Mat (from the Joy of Ornament series)

estimate: $600–800

result: $625

240 Louisa Chase

Chasm

estimate: $500–700

result: $469

241 Leonard Koscianski

Fire-Eaters

estimate: $100–200

result: $250

36 Vetreria Artistica Barovier

Vetro Mosaico vase

estimate: $30,000–50,000

result: $43,750

37 Vetreria Artistica Barovier and Umberto Bellotto

Coppa su stelo

estimate: $70,000–90,000

result: $112,500

38 Vetreria Artistica Barovier

Monumental a Murrine Floreali vase

estimate: $20,000–30,000

result: $32,500

39 Vetreria Artistica Barovier

Soffiato vase

estimate: $20,000–30,000

result: $32,500

36 Vetreria Artistica Barovier

Vetro Mosaico vase

estimate: $30,000–50,000

result: $43,750

37 Vetreria Artistica Barovier and Umberto Bellotto

Coppa su stelo

estimate: $70,000–90,000

result: $112,500

38 Vetreria Artistica Barovier

Monumental a Murrine Floreali vase

estimate: $20,000–30,000

result: $32,500

39 Vetreria Artistica Barovier

Soffiato vase

estimate: $20,000–30,000

result: $32,500

Vetreria Artistica Barovier and Umberto Bellotto

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Born in Venice in 1882, Umberto Bellotto was the son of a blacksmith. By 1903 he had already distinguished himself as a master ironworker, creating the celebrated railings for the café/restaurant at the Venice Biennale. In the 1910’s he made a name for himself collaborating with other craft workshops to produce furniture, fabrics, leather, glass and other objects for fine interiors. By 1914, Bellotto’s rising fame as a master craftsman and designer was beginning to reach its zenith when he opened his own gallery and presented hand-crafted wrought objects which clearly existed in the realm of fine art. In 1920 he participated in the Venice Biennale, exhibiting original works combining iron with leather, glass and ceramic. Between 1925 and 1927 he designed imaginative works of glass composed of geometric and industrial shapes highlighted by dark contrasting details—a stylistic innovation that become a permanent convention in the Murano glass oeuvre. In 1928 he was called to Rome by the minister of public works and was assigned to major architectural projects. He died in Venice in 1940.

Today with a knowledgeable guide, it is possible to encounter signs, lanterns, chandeliers, door handles, mounts, hinges, and even entire staircases executed by Bellotto, hidden in plain sight throughout Venice and the Veneto.

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