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
Benjamin Moore, Venini & C., 1979
Benjamin Moore
Tessuto ad incalmo, 1979

Benjamin Moore   Tessuto ad incalmoVenini & C., 1979

Vase in tessuto glass. The upper portion is composed of a spiraling pink, green, and black canes of glass, the lower portion is made of black glass. The two portions are bonded with the incalmo technique.

Engraved: Benjamin Moore Venini.
10 7/16 in. high (26.5 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:
A. Venini Diaz de Santillana, 1989, n. 249;
M. Barovier, 1999, p. 289;
Olnick Spanu, 2000, n. 146;
Olnick Spanu, 2001, n. 184;
A. Dorigato, 2002, p. 349.

Photograph by Luca Vignelli
Tapio Wirkkala, Venini & C., 1966
Tapio Wirkkala

Tapio Wirkkala   BolleVenini & C., 1966

A group of five multicolored decanter-shaped vases. Blown with very thin, pale colored transparent glass, all works are obtained with the use of the incalmo technique.

Engraved:
venini ITALIA TW.
7 1/4 in. to 17 in. high
(18.4 to 43.2 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, 1968, February;
G. Mazzotti, T. Carta, 1971, p. 155;
Venezianisches…, 1981, n. 40;
Murano Oggi, 1981, nn. 512-516;
R. Barovier Mentasti, 1992, n. 322;
Mille anni…, 1982, n. 653;
G. Duplani Tucci, 1989, nn. 46-49;
M. Heiremans, 1989, n. 221;
A. Venini Diaz de Santillana, 1996, n. 238;
Venini Venezia, 1998, p. 77;
M. Barovier, 1999, p. 271;
A. Venini Diaz de Santillana, 2000, n. 242;
Olnick Spanu, 2000,
n. 145;
Olnick Spanu, 2001, n. 183.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1961
Thomas Stearns
Il vaso per le lacrime del Doge, 1961

Thomas Stearns   Il vaso per le lacrime del DogeVenini & C., 1961

Green orb composed of horizontal green glass canes with an inlay of silver and gold at the aperture.
A prototype, never produced,

Engraved: Stearns per Venini 61 Il vaso per le lacrime del Doge Orbe verde.
Hand written label: Stearns Venini 61 – Vessel for The Doges Tears.
5 1/2 in. high (14 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:
Olnick Spanu, 2000, n. 142;
Olnick Spanu, 2001, n. 179.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
Cappello del Doge, 1962

Thomas Stearns   Cappello del DogeVenini & C., 1962

An asymmetrical vessel obtained with the technique of the double incalmo. Made with yellow pasta vitrea, cristallo, and green pasta vitrea glass. Strongly iridized surface.

Acid stamped:
venini murano ITALIA.
5 1/2 in. high (14 cm)

Exhibitions:
1962, Venice, 31st 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:
Domus, January, 1962, p. 38;
Domus, July, 1963, p. 40;
F. Deboni, 1989, n. 170;
R. Barovier Mentasti, 1992, n. 141;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 149;
Venezia e la Biennale…, 1995, n. 567;
F. Deboni, 1996, n. 227;
A. Venini Diaz de Santillana, 1996, n. 223;
M. Heiremans, 1996, n. 202;
H. Ricke, E. Schmitt, 1996, n. 158;
A. Venini Diaz de Santillana, 2000, n. 187;
Olnick Spanu, 2000, n. 141;
Olnick Spanu, 2001, n. 178;
A. Dorigato, 2002, p. 345.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
La sentinella di Venezia, 1962

Thomas Stearns   La sentinella di VeneziaVenini & C., 1962

Multicolored glass sculpture composed of iridescent glass canes, murrine and vertical inciso work. One of three made. One was destroyed. Only two remain.

Engraved: 62 Venini Sentinella di Venezia version # 1.
20 7/16 in. high (52 cm)

Exhibitions:
1962, Venice, 31st 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:
M. Karasik, 1989, n. 55;
Olnick Spanu, 2000, n. 140;
Olnick Spanu, 2001, n. 177.