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
Carlo Scarpa, Venini & C., 1940
Carlo Scarpa
Battuto, 1940

Carlo Scarpa   BattutoVenini & C., 1940

Transparent amethyst vase, surface finished with light horizontal carvings.

13 5/16 in. high (33.8 cm)
Exhibitions:
1940, Venice, 22nd Biennale Internazionale d’Arte; 1940, Milan,
7th 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, blue catalogue, n. 3940;
G. Ponti, 1940, p. 70;
R. Aloi, 1945, nn. 10, 13;
M. Brusatin, 1972, p. 24;
Carlo Scarpa…, 1984, p. 185;
La verrerie…, 1988, p. 117;
F. Deboni, 1989, n. 58-63;
M. Barovier, 1991, n. 23, 32;
R. Barovier Mentasti, 1992, n. 69;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 54;
F. Deboni, 1996, n. 193; A. Venini Diaz de Santillana, 1996, nn. 98-104;
H. Ricke, E. Schmitt, 1996, nn. 42, 43;
M. Barovier, 1997, p. 219;
M. Barovier, 1998 (b), p. 27;
M. Barovier, 1999, p. 187;
Olnick Spanu, 2000, n. 62;
Olnick Spanu, 2001, n. 95.

Photograph by Luca Vignelli
Carlo Scarpa, Venini & C., 1940
Carlo Scarpa
Velato e inciso 094.00, 1940

Carlo Scarpa   Velato e inciso 094.00Venini & C., 1940

Tall vase composed of straw-colored glass and decorated with horizontal bands of inciso. The entire surface is finished in the velato technique.

Paper label: venini murano ITALIA.
12 5/8 in. high (32.1 cm)

Exhibitions:
1940, Venice, 22nd Biennale Internazionale d’Arte;
1940, Milan, 7th 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, blue catalogue, n. 3791;
G. Ponti, 1940, p. 72;
F. Deboni, 1989, n. 74;
M. Barovier, 1997, pp. 152, 281;
Olnick Spanu, 2000, n. 61;
Olnick Spanu, 2001, n. 94.

Photograph by Luca Vignelli
Carlo Scarpa, Venini & C., 1940
Carlo Scarpa
Inciso, 1940

Carlo Scarpa   IncisoVenini & C., 1940

Cylindrical vessel in transparent light blue glass cased in amethyst. The wheel-cut incisions are undulating vertical lines.

Paper label: Venini n. 3753.
11 3/8 in. high (28.9 cm)
Exhibitions:
1940, Milan, 7th 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, blue catalogue, nn. 3753;
R. Papini, 1940, p. 221;
G. Ponti, 1940, p. 58, 61;
Lo Stile, 1941, p. 60;
Domus, 1953, December, p. 70;
G. Ponti, 1959, p. 34;
Space Design, 1977, p. 69;
G. Duplani Tucci, 1989, n. 22;
M. Barovier, 1991, nn. 43, 44;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, pp. 49, 52;
A. Venini Diaz de Santillana, 1996, nn. 104-107;
M. Barovier, 1997, p. 218;
M. Barovier, 1998 (b), p. 28;
A. Venini Diaz de Santillana, 2000, n. 136;
Olnick Spanu, 2000, n. 60;
Olnick Spanu, 2001, n. 93.

Photograph by Luca Vignelli
Carlo Scarpa, Venini & C., 1940-1942
Carlo Scarpa
Incisi, 1940-1942

Carlo Scarpa   IncisiVenini & C., 1940-1942

Two vessels, one in trasparente fumé glass, and one in trasparent green glass. Both vessels are finished with dense vertical incisions over their entire surfaces.

Acid stamped:
venini murano
MADE IN ITALY
.
6 3/8 in. high (16.2 cm)
5 in. high (12.7 cm)

Exhibitions:
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu,
Spazio Oberdan.

Bibliography and comparative texts:
Venini, blue catalogue, nn. 3798, 3595;
A. Bettagno, 1996, nn. 99, 105;
Olnick Spanu, 2001, n. 92.

Photograph by Luca Vignelli
Carlo Scarpa, Venini & C., 1940
Carlo Scarpa
Cinesi, 1940

Carlo Scarpa   CinesiVenini & C., 1940

Two vases in red glass. The shapes in this series were influenced by Chinese porcelains, the finish inspired by oriental lacquers.

Acid stamped:
venini murano
MADE IN ITALY
and venini murano ITALIA.
13 3/4 in. high (35 cm)
9 1/8 in. high (23.2 cm)
Exhibitions:
1940, Venice, 22nd 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, blue catalogue, n. 3933;
G. Ponti, 1940, p. 71;
F. Deboni, 1989, n. 67;
M. Barovier, 1991, n. 37;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 56;
M. Barovier, 1997, p. 215;
M. Barovier, 1998 (b), p. 26;
M. Barovier, 1999, p. 187;
Olnick Spanu, 2000, n. 59;
Olnick Spanu, 2001, n. 91.