A documented 1954 Seguso Vetri d'Arte, Flavio Poli designed and executed by Angelo Seguso in “Blu Rubino” or Ruby & Blue Sommerso free form centerpiece or bowl. It measures approximately 11” long x 3.75" tall x 7” wide and weighs 9.25 lbs. It is in excellent mid century condition free of any chips, cracks, or repairs. The same décor of this bowl has been used in several prominent Seguso pieces including vases that have been published in many books and won many awards. The most notable award is highlighted on the Seguso website under their history. In 1954 the 'grande Vaso (vase) Blu Rubino" which was also designed by Flavio Poli in this décor won the prestigious "COMPASSO D'ORO" award.  The sculptural bowl will be carefully packed and shipped fully insured.

SEGUSO VETRI D’ARTE

 In 1933 some glass masters who came out of Barovier & C. decided to open a furnace, thus giving life to the ARTISTIC SOFFIERIA E VETRERIA BAROVIER SEGUSO FERRO. The production consisted of blown glass, stylized figurines, animals and succulent plants, which were based on current fashions. Vittorio Zecchin collaborated at the beginning of the activity as a designer, and a year later, given his lack of interest in the new heavy materials used by Murano glassworks, he abandoned the company. He advised to hire a talented young designer, that Flavio Poli who was already known for the unscrupulous use of solid glass.

In 1937, with the exit of Luigi Ferro, the glassworks took the current name of SEGUSO VETRI D'ARTE.

Poli, flanked by Archimede Seguso, a first-rate master, in turn a partner, focused his interest on thick material, enriched by inclusions of metal particles or tiny air bubbles ("bullicante" glass). At the Biennials of those years, the series of animals in hot-modeled solid glass, the corroded vases and the buliculous glass sculptures met with great success. In the magazine Domus, the innovative proposals that represented a decisive step in the development of Murano glass were widely emphasized. After the war, he presented a series of light glasses with polychrome bands at the 1948 Biennale.

Having reached full artistic maturity, Flavio Poli designed, in the years 1950 to 1960, a whole series of "submerged" glasses, with essential shapes, characterized by the use of cold colors, sometimes enlivened by a contrasting color thread, finished at the wheel , to obtain an accentuated contrast between the thick base and the thin, almost sharp edges. The "Valve", glass shells with sometimes corroded surfaces, the stylized "fish" and the "siderals", vases and bowls decorated with an enormous murrina with concentric colored rings, immersed in a layer of transparent glass, date back to those years. It should not be forgotten that one of the sectors where the furnace was able to express itself to the maximum was that of lighting, designed for public environments, large hotels and ocean liners. We recall, for example, the huge chandelier commissioned by Count Vittorio Cini for the personal library of His Holiness John XXIII.

Countless are the awards given to Seguso Vetri d'Arte for this production in Italy and abroad: the Compasso d'Oro in 1954, the Grand Prix at the four editions of the post-war Triennale and the Grand Prix at the Universal Exhibition in Brussels in 1958. . We report the motivation with which the Compasso d'Oro was awarded in 1954, summarizing the spirit that permeates all of Flavio Poli's work: "Its aspects - form and material - are manifested with essentiality in the former, with the values of color, clarity and thickness in perfect unity. The second: the unity of form and that of matter make up that further unity of "Form / Matter" which constitute one of the aesthetic requirements that the Compasso d'Oro wishes to consecrate. It rewards magisterium and honesty of the furnace for its coherent progress, for the elevation of taste and at the same time the personality of a creator who carries on essential expressions, valiant example in a field affected by futile decorativisms ".

In the early 1960s, as designer, Flavio Poli was joined by Mario Pinzoni who, after his retirement in 1963, continued the work, along the lines he had already set. It should be remembered that the execution of the most important pieces in the 50s and 60s, is by maestro Angelo Seguso, brother of Archimede, in turn a partner.