The history of "Seguso Vetri D' Arte" is directly linked to the "Vetreria Artistica­ Barovier" company. When the Barovier workshop was forced to reduce production in 1929, due to a financial crisis in America, the
original group of ten partners had to separate and Antonio Seguso in 1931, assisted by his sons Ernesto and Archimede opened a small workshop of his own. They were joined by Luigi Olimpio Ferro and Napoleone Barovier the following year. Together the craftsmen establish the "Artistica Soffieria e Vetreria Barovier Seguso & Ferro" company as equal partners.
In 1934 Flavio Poli joins the firm as artistic director and within only a brief period of time a distinct style of designs emerged. The close collaboration between Flavio Poli, Archimede Seguso and Alfredo Barbini played an important part in the success of the company. New glass techniques are developed which include never before seen color applications. 
The companies innovative designs constantly received awards and during the 1935 World Fair in Brussels and the 1936 Milan Triennale they did attract the interest of a new group of clientele. One of them is the French wholesale company "Veronese" from Paris which would play a defining role in the history of the company.
The demand for an increase in production requires additional investments and the partners felt that there is a need to multiply their investment tenfold.
Luigi Olimpio Ferro subsequently decided to withdraw from the company and his shares are acquired by Flavio Poli, which makes him a full partner. As a result, the company name is changed to Seguso Vetri D’ Arte and it is officially recognized in 1937. A period of great success and prosperity ensues, lasting until the outbreak of World War II. 
The post ­war period is a time of great change in Europe and the rebuilding of the economical structure in Italy requires major investments which result in the introduction of new import duties and taxes.
To safeguard the copyright of the Seguso Vetri D'Arte designs an application for a second entry into the commercial registers of Venice is made by the partners in 1945.
Strict export regulations curb international business relations for many years after the war and the company decides to focus on the domestic market instead. In 1946 a large retail location is opened at the Piazza Diaz in Milan where in addition to the art glass,  German porcelain and Italian pottery is offered. 
In 1950 Flavio Poli develops a new sommerso glass technique, which consists of an overlaying of transparent layers of glass. The overlapping creates new shades of color which prior to the introduction of this technique had not been seen. Flavio Poli's most iconic design is the "Valve", which resembles an upright, slightly opened clam shell. The design was introduced in 1951. Mario Pinzoni joins the company in 1953 as a personal assistant to Flavio Poli and his responsibilities as a draftsman included the compilation of archival and the existing production drawing s into in a single company catalogue. The continuous increase in prosperity during the 1950s brings financial security to the glass company and Flavio Poli once more sets out to experiment with new glass techniques. Contrary to the preceding series of "Sommersi" objects, none of the new series become commercially successful, and the production is soon abandoned. Poli returns to develop additional sommersi designs with new colour applications including topaz and sapphire shades of color combined with violet which is introduced during the Biennale in 1957. A shift in ownership due to the passing of Napoleone Barovier and the withdrawal of Antonio Seguso, put Ernesto Seguso and Flavio Poli at the head of the company management. Conflicts with Bruno and Angelo Seguso concerning artistic direction cause Flavio Poli to resign in 1963 and Mario Pinzoni takes over the artistic leadership. He introduces new colors and models, yet maintains the basic "sommerso" technique which has become the company’s trademark. The costly production of these objects and and an increase in competition cause the once so solid structure of the company to collapse. Pinzoni  decides to leave the company in 1971, and Vittorio Rigattieri is hired yet he is unable to turn the tide. In 1973 Seguso Vetri D’Arte ceases its production. The hiring of Maurizio Albarelli in 1978 proves as saving grace of the Seguso Vetri D' Arte company archives which were therefore preserved and which nowadays belong to the Fondazione Cini on San Giorgi and the Seguso family on Murano.