Photograph by Luca Vignelli

Yoichi OhiraMetamorfosi, 1999

Yoichi OhiraMetamorfosi

A vessel composed oflattimo glass canes with inlays of cristallo murrine. The surface is finished with a fine velato.

Engraved: Yoichi Ohira m. L. Serena 1/1 unico 1999 Murano..
10 in. high (25.5 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986, p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Yoichi Ohira  1946–

Yoichi Ohira was born in Japan and moved to Italy in 1973. After working as an apprentice at the Kagami Crystal Company in Tokyo, Ohira graduated in Sculpture from the Accademia di Belle Arti di Venezia with a dissertaion on the aesthetics of glass. In 1973, he began working with Egidio Costantini's Fucina degli Angeli and participated in numerous collective and personal exhibitions, presenting sculptures made with the combination of plated metal and glass. In 1987, he started a collaboration as a designer with the Vetreria de Majo in Murano. That same year, Ohira was awarded the Premio Selezione at the Premio Murano. He began working as an independent artist in the early '90s, creating magnificent one-of-a-kind pieces, which he made in collaboration with the skillful maestro glassblower Livio Serena from Murano. He has participated in the most important international exhibitions and his works are greatly appreciated by private collectors as well as many public museums. Yoichi Ohira's work is, today, part of the permanent collections of museums such as the Victoria and Albert Museum of London, the Musée des Arts Décoratifs in Paris, the Metropolitan Museum of Art in New York, the Koganezaki Glass Museum in Shizoka, Japan, and many others.

Yoichi OhiraMetamorfosi, 1999

Photograph by Luca Vignelli

Yoichi OhiraFiori verdi e blu & Pasta Vitrea, 1998

Yoichi OhiraFiori verdi e blu & Pasta Vitrea

The vase on the left is composed of green, blue and brown glass canes inlaid with murrine.
Engraved: Yoichi Ohira m. L. Serena 1/1 unico 06.10.1998 Murano.
7 1/2 in. high (19.5 cm)

The vase on the right is composed of lattimo glass canes and transparent glass inlaid with murrine.
Engraved: Yoichi Ohira m. L. Serena 1/1 unico 02.04.1998 Murano.
8 1/4 in. high (21.5 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986, p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Yoichi Ohira  1946–

Yoichi Ohira was born in Japan and moved to Italy in 1973. After working as an apprentice at the Kagami Crystal Company in Tokyo, Ohira graduated in Sculpture from the Accademia di Belle Arti di Venezia with a dissertaion on the aesthetics of glass. In 1973, he began working with Egidio Costantini's Fucina degli Angeli and participated in numerous collective and personal exhibitions, presenting sculptures made with the combination of plated metal and glass. In 1987, he started a collaboration as a designer with the Vetreria de Majo in Murano. That same year, Ohira was awarded the Premio Selezione at the Premio Murano. He began working as an independent artist in the early '90s, creating magnificent one-of-a-kind pieces, which he made in collaboration with the skillful maestro glassblower Livio Serena from Murano. He has participated in the most important international exhibitions and his works are greatly appreciated by private collectors as well as many public museums. Yoichi Ohira's work is, today, part of the permanent collections of museums such as the Victoria and Albert Museum of London, the Musée des Arts Décoratifs in Paris, the Metropolitan Museum of Art in New York, the Koganezaki Glass Museum in Shizoka, Japan, and many others.

Yoichi OhiraFiori verdi e blu & Pasta Vitrea, 1998

Photograph by Luca Vignelli

Mary Ann ZynskyFolto, 1984

Mary Ann ZynskyFoltoVenini & C., 1984

A green vase decorated with a random design of orange threads.

Engraved: Zinsky x Venini 1984.
12 1/2 in. high (31.5 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986, p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Mary Ann Zynsky  1951–

Designer Mary Ann "Toots" Zynsky was born in Boston and attended the Rhode Island School of Design, the Pilchuck Glass School, and the Craft School at Haystack, taking part in various experiences and experiments. From 1981 to 1983, she collaborated with Venini, where, with the help of maestro Checco Ongaro, she created a remarkable series of pieces. Among these are the vessels called Folto, whose openings have wide turned-over lips, and decorations with glass rods produced out of hair-thin threads made with a technique she invented herself. Her works are present not only in the major international museums, but also in the White House amidst the works of the best American artists.

Venini & C.  1932–2001

In 1932, when both Martinuzzi and Zecchin left the company, Paolo Venini changed the name from Vetri Soffiati Muranesi Venini & Co. (V.S.M. Venini & Co.) to Venini & C.. Milanese architect Tommaso Buzzi became the new artistic director. After 1934, artistic direction was taken on by Carlo Scarpa, who designed most of the company's production through 1947. Side by side with Venini, who often intervened personally in design, Scarpa created numerous collections of objects characterized by refined colors. After World War II, Venini & C. sought numerous collaborations with artists such as architect Giò Ponti and the Swedish-born Tyra Lundgren. After 1948, Fulvio Bianconi, Massimo Vignelli, and Tobia Scarpa contributed significantly to the new direction of the company. Paolo Venini died in 1959 and his son-in-law, Ludovico Diaz de Santillana, took over the management of Venini & C. He not only worked personally as a glass designer but also continued the collaboration started by Paolo Venini with various artists and designers. Starting in 1960, many other designers collaborated with the company, like Thomas Stearns, Toni Zuccheri, Tapio Wirkkala, Laura and Alessandro Diaz de Santillana, James Carpenter, Dan Dailey, Richard Marquis, Benjamin Moore, and Toots Zynsky. In 1986, the de Santillana family left the company, selling their stock to the Ferruzzi group, which guaranteed the fine quality Venini was known for by hiring new designers such as Timo Sarpaneva, Marco Zanini, Ettore Sottsass Jr., Alessandro Mendini, Mario Bellini, Barbara del Vicario, and others. In 1988, Venini was acquired by Royal Scandinavian. Since 2001, Venini S.p.A. has been part of Italian Luxury Industries Group and is led by Giancarlo Chimento, Giuliano Tabacchi, and Giorgio Rizzo.

Mary Ann ZynskyFolto, 1984

Photograph by Luca Vignelli

Mary Ann ZynskyFolto, 1984

Mary Ann ZynskyFoltoVenini & C., 1984

A turquoise bowl cased inlattimo glass decorated with a random design of pink and pale blue threads.

Engraved: Zinsky x Venini 1984.
7 1/4 in. high (18.5 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986, p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Mary Ann Zynsky  1951–

Designer Mary Ann "Toots" Zynsky was born in Boston and attended the Rhode Island School of Design, the Pilchuck Glass School, and the Craft School at Haystack, taking part in various experiences and experiments. From 1981 to 1983, she collaborated with Venini, where, with the help of maestro Checco Ongaro, she created a remarkable series of pieces. Among these are the vessels called Folto, whose openings have wide turned-over lips, and decorations with glass rods produced out of hair-thin threads made with a technique she invented herself. Her works are present not only in the major international museums, but also in the White House amidst the works of the best American artists.

Venini & C.  1932–2001

In 1932, when both Martinuzzi and Zecchin left the company, Paolo Venini changed the name from Vetri Soffiati Muranesi Venini & Co. (V.S.M. Venini & Co.) to Venini & C.. Milanese architect Tommaso Buzzi became the new artistic director. After 1934, artistic direction was taken on by Carlo Scarpa, who designed most of the company's production through 1947. Side by side with Venini, who often intervened personally in design, Scarpa created numerous collections of objects characterized by refined colors. After World War II, Venini & C. sought numerous collaborations with artists such as architect Giò Ponti and the Swedish-born Tyra Lundgren. After 1948, Fulvio Bianconi, Massimo Vignelli, and Tobia Scarpa contributed significantly to the new direction of the company. Paolo Venini died in 1959 and his son-in-law, Ludovico Diaz de Santillana, took over the management of Venini & C. He not only worked personally as a glass designer but also continued the collaboration started by Paolo Venini with various artists and designers. Starting in 1960, many other designers collaborated with the company, like Thomas Stearns, Toni Zuccheri, Tapio Wirkkala, Laura and Alessandro Diaz de Santillana, James Carpenter, Dan Dailey, Richard Marquis, Benjamin Moore, and Toots Zynsky. In 1986, the de Santillana family left the company, selling their stock to the Ferruzzi group, which guaranteed the fine quality Venini was known for by hiring new designers such as Timo Sarpaneva, Marco Zanini, Ettore Sottsass Jr., Alessandro Mendini, Mario Bellini, Barbara del Vicario, and others. In 1988, Venini was acquired by Royal Scandinavian. Since 2001, Venini S.p.A. has been part of Italian Luxury Industries Group and is led by Giancarlo Chimento, Giuliano Tabacchi, and Giorgio Rizzo.

Mary Ann ZynskyFolto, 1984

Photograph by Luca Vignelli

Ermanno TosoCaccia, 1984

Ermanno TosoCacciaBarovier & Toso, 1984

Cylindrical vase composed of two alternating glass bands. One band is made of circular cristallo, lattimoand blue tessere, the other is Diamond-shaped cristalloand black tessere.

9 in. high (23 cm)

Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà, 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986, p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.

Ermanno Toso  1903–1973

Born on Murano, Ermanno Toso began to work at the Fratelli Toso workshop in 1924, where he was later to become a partner. In 1936, he was named artistic and marketing director of the company. During the period preceding World War II, he created thick glass pieces using traditional decorative techniques that were characterized by simple and solid shapes inspired by the Novecento style. During the '50s, he created a collection of extraordinarily lightweight glass pieces based on a modern interpretation of classical techniques, such as filigrana and murrina. During the '60s, his creative talent led him towards an absolute multicolored sobriety.

Barovier & Toso  1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso. Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Ermanno TosoCaccia, 1984