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.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1951
Fulvio Bianconi
A fasce orizzontali, 1951

Fulvio Bianconi   A fasce orizzontaliVenini & C., 1951

Vase in transparent straw-colored glass decorated with orange fasce.

Acid stamped:
venini murano ITALIA.
Original paper label.
9 1/2 in. high (24.1 cm)

Exhibitions:
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparison texts:
Venini, grey catalogue, n. 4400;
M. Karasik, 1989, n. 17;
Olnick Spanu, 2000, n. 89;
Olnick Spanu, 2001, n. 126.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1950
Fulvio Bianconi
Sirena, 1950

Fulvio Bianconi   SirenaVenini & C., 1950

Torso-shaped vessel in transparent green glass decorated with a webbing of applied lattimo glass.

Acid stamped:
venini murano ITALIA.
Paper label: Venini murano
MADE IN ITALY
.
15 1/2 in. high (39.4 cm)
Exhibitions:
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Venini, grey catalogue, n. 4209;
M. Karasik, 1989, n. 24;
R. Bossaglia, 1993, n. 43;
M. Heiremans, 1993, n. 223;
F. Deboni, 1996, n. 210;
M. Heiremans, 1996, n. 90;
H. Ricke, E. Schmitt, 1996, n. 85;
H. J. Lockwood, 1998, p. 19;
Olnick Spanu, 2000, n. 88;
Olnick Spanu, 2001, n. 125;
B. Leigh, Art & Antiques, 2003, p. 93.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., ca. 1951-1952
Fulvio Bianconi
Pezzati, ca. 1951-1952

Fulvio Bianconi   PezzatiVenini & C., ca. 1951-1952

Three patchwork vases. The one on the left is in the Istanbul colors; the patches that compose this series are made of transparent clear, straw, and tan glass. The middle vase is in the Parigi colors; the patches that compose this series are made of transparent blue, green, clear and red glass. The vase on the right is in the Stoccolma colors; the patches that compose this series are made of transparent black, turquoise, clear, and straw glass.

Acid stamped:
venini murano ITALIA.
Paper label: n. 4916.
8 1/2 in. high (21.6 cm)
9 1/8 in. high (23.2 cm)
9 1/2 in. high (24.1 cm)

Exhibitions:
1951, Milan, 9th Triennale;
1952, Venice, 26th Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design; 2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Venini, grey catalogue, n. 4916, 1329;
Vetri. Quaderni…, 1951, p. 84; R. Aloi, 1955, p. 20; G. Ponti, 1959, p. 42;
W. Neuwirth, 1987, n. 35; F. Deboni, 1989, n. 107; R. Bossaglia, 1993, n. 68; M. Barovier, 1994, n. 20; M. Barovier, R. Barovier Mentasti, A. Dorigato, 1995, n. 104; H. Lockwood, 1995,
p. 8; F. Deboni, 1996, n. 214; H. Ricke, E. Schmitt, 1996, nn. 77-80; A. Venini Diaz de Santillana, 1996, nn. 145-147; A. Venini Diaz de Santillana, 2000, n. 164; Olnick Spanu, 2000, n. 87; Olnick Spanu, 2001, n. 124;
R. Losch, 2002, n. 64 Bi.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1950-1951
Fulvio Bianconi
Pezzato, 1950-1951

Fulvio Bianconi   PezzatoVenini & C., 1950-1951

Patchwork vase, the patches that compose this pezzato made of transparent glass and opaque pasta vitrea in the colors of black, turquoise, clear, and straw.

Acid stamped:
venini murano ITALIA.
9 7/16 in. high (24 cm)

Exhibitions:
1951, Milan, 9th Triennale;
1952, Venice, 26th Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Venini, grey catalogue, n. 1329;
Olnick Spanu, 2000, n. 86;
Olnick Spanu, 2001, n. 123.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1951
Fulvio Bianconi
Pezzato, 1951

Fulvio Bianconi   PezzatoVenini & C., 1951

Patchwork vase, the patches that compose this pezzato made of transparent glass and opaque pasta vitrea in the colors of red, white, green, and shades of blue.

Acid stamped:
venini murano ITALIA.
14 9/16 in. high (37 cm)
Exhibitions:
1951, Milan, 9th Triennale;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Venini, grey catalogue, n. 4319;
Domus, 1950, p. 251;
Vetri. Quaderni…, 1951, p. 84;
R. Aloi, 1952, n. 29;
R. Aloi, 1955, p. 20;
L’arte del vetro, 1992, n. 358;
R. Bossaglia, 1993, nn. 53, 54;
M. Barovier, 1994, n. 21;
F. Deboni, 1996, n. 215;
H. Ricke, E. Schmitt, 1996, n. 83;
Venini Venezia, 1998, p. 71;
H. Lockwood, 1995, p. 8;
Olnick Spanu, 2000, n. 85;
Olnick Spanu, 2001, n. 122;
R. Losch, 2002, n. 72 Bi;