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
Massimo Vignelli, Venini & C., 1955
Massimo Vignelli

Massimo Vignelli   FungoVenini & C., 1955

Table lamp in the shape of a mushroom crafted with lattimo and yellow glass canes. The architect, Massimo Vignelli, received an honorable mention at the Compasso d’Oro in 1956 for this design.

13 3/4 in. high (35 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:
Stile Industria, 1956, December, n. 9;
Design Vignelli, 1990, p. 262;
Designed for Delight, 1997, n. 133;
R. Barovier Mentasti, 1998, n. 156;
M. Romanelli, 2000, p. 209;
A. Venini Diaz de Santillana, 2000, n. 228; Olnick Spanu, 2000, n. 102;
Olnick Spanu, 2001, n. 139.

Photograph by Luca Vignelli
Massimo Vignelli, Venini & C., 1954
Massimo Vignelli
Sigaro, 1954

Massimo Vignelli   SigaroVenini & C., 1954

A cigar-shaped ceiling lamp, the
top portion crafted in lattimo glass, the bottom part with multicolored horizontal fasce of glass.

Acid stamped:
venini murano ITALIA.
13 7/8 in. high (35.8 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. 3035L;
Domus, 1956, November, p. 37;
G. Ponti, 1959;
Domus, 1956, January, pp. 45-47;
Domus, 1956, November;
Domus, 1959, Dicember;
W. Neuwirth, 1987, n. 216;
A. Venini Diaz de Santillana, 1996, n. 163;
M. Romanelli, 2000, p. 209;
A. Venini Diaz de Santillana, 2000, n. 227;
Olnick Spanu, 2000, n. 101;
Olnick Spanu, 2001, n. 138.

Photograph by Luca Vignelli
B.B.P.R., Venini & C., 1954
B.B.P.R.
A fasce, 1954

B.B.P.R.   A fasceVenini & C., 1954

Ceiling lamp in translucent glass decorated with irregular horizontal fasce in red, aubergine, blue and green glass. This model was originally designed by Studio Architetti B.B.P.R. for the New York City showroom of Olivetti. The original brass chain, as well as the top of the lamp, are missing.

Acid stamped:
venini murano ITALIA.
26 in. high (66 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:
Domus, 1954, September, pp. 3-9;
Domus, 1956, January, pp. 45-48;
G. Ponti, 1959;
Olnick Spanu, 2000, n. 100;
Olnick Spanu, 2001, n. 137.

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.