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
Paolo Venini, Venini & C., ca. 1955
Paolo Venini
Clessidre, ca. 1955

Paolo Venini   ClessidreVenini & C., ca. 1955

Group of eight transparent glass incalmo hourglasses in various hights and color combinations. The third one from the right in the colors of cobalt blue and emerald green was the piece that started this collection.

Acid stamped:
venini murano ITALIA.
5 1/2 in. to 12 in. high
(14 to 30 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, nn. 4905, 4906, 4907; A. Gasparetto, 1960, n. 42; G. Mariacher, 1967, p. 169; F. Deboni, 1989, n. 132; G. Duplano Tucci, 1989, nn. 5/6; Olnick Spanu, 2000, n. 99; Olnick Spanu, 2001, n. 136.

Photograph by Luca Vignelli
Paolo Venini, Venini & C., 1954
Paolo Venini
Mosaico Zanfirico, 1954

Paolo Venini   Mosaico ZanfiricoVenini & C., 1954

Tall vase crafted in transparent
blue glass decorated with horizontal and vertical segments of zanfirico lattimo canes.

Acid stamped:
venini murano ITALIA.
13 1/2 in. high (34.3 cm)
Exhibitions:
1954, Milan, 10th Triennale;
1954, Venice, 27th 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. 3886;
G. Ponti, 1959;
Domus, 1955, April;
W. Neuwirth, 1987, n. 69;
F. Deboni, 1989, nn. 126-128;
M. Karasik, 1989, n. 34;
M. Barovier, 1994, n. 17;
F. Deboni, 1996, p. 74, n. 221;
M. Heiremans, 1996, n. 152;
H. Ricke, E. Schmitt, 1996, nn. 116-118;
R. Barovier Mentasti, 1998, n.129;
M. Barovier, 1999, p. 231;
A. Venini Diaz de Santillana, 2000, nn. 84-85;
Olnick Spanu, 2000, n. 98;
Olnick Spanu, 2001, n. 135.

Photograph by Luca Vignelli
Paolo Venini, Venini & C., 1959
Paolo Venini
A murrine, 1959

Paolo Venini   A murrineVenini & C., 1959

Bowl crafted with grey and lattimo murrine. The center of the bowl
is composed of turquoise and lattimo murrine.

Paper label: Venini 4880.
1 1/2 in. high x 8 11/16 in. x 5 5/16 in. (3.8 x 22 x 13.5 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. 4880;
G. Ponti, 1959;
F. Deboni, 1989, n. 153;
M. Karasik, 1989, n. 33;
A. Venini Diaz de Santillana, 1996, n. 180;
H. Ricke, E. Schmitt, 1996, n. 148;
Olnick Spanu, 2000, n. 97;
Olnick Spanu, 2001, n. 134.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1965
Fulvio Bianconi

Fulvio Bianconi   SassoVenini & C., 1965

Vessel designed to appear like a rock. Composed of two parts, both in coral red pasta vitrea separated by a band of transparent light blue glass. The finish of the blue glass is lightly battuto. This vessel is shaped while hot and is not blown.

Engraved: venini ITALIA.
5 in. high (12.7 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:
F. Deboni, 1989, nn. 167, 168;
M. Karasik, 1989, n. 52;
R. Bossaglia, 1993, nn. 98, 99;
M. Heiremans, 1993, n. 246;
F. Deboni, 1996, n. 230;
M. Heiremans, 1996, nn. 236, 237;
H. Ricke, E. Schmitt, 1996, nn. 106, 107;
Venini Venezia, 1998, p. 76;
M. Barovier, 1999, p. 267;
Olnick Spanu, 2000, n. 95;
Olnick Spanu, 2001, n. 133;
R. Losch, 2002, n. 101 Bi.

Photograph by Luca Vignelli
Fulvio Bianconi, Venini & C., 1968
Fulvio Bianconi
Informale, 1968

Fulvio Bianconi   InformaleVenini & C., 1968

Sculptural vessel in thick
transparent aquamarine glass with
a rough surface.

Engraved: venini ITALIA.
16 in. high (40.7 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, green catalogue, n. 711;
M. Heiremans, 1989, n. 222;
R. Bossaglia, 1993, n. 100;
M. Heiremans, 1993, n. 247;
A. Venini Diaz de Santillana, 1996, n. 235;
H. Ricke, E. Schmitt, 1996, n. 108;
Venini Venezia, 1998, p. 79;
A. Venini Diaz de Santillana, 2000, n. 173;
Olnick Spanu, 2000, n. 96;
Olnick Spanu, 2001, n. 132;
A. Dorigato, 2002, p. 344.