Carlo Scarpa 1906–1978

Born in Venice, Carlo Scarpa graduated from the Accademia di Belle Arti in Venice in 1926. Soon after his graduation he began work at M.V.M. Cappellin, where he soon replaced Vittorio Zecchin as artistic director. Following the direction laid down by Zecchin, he initially created transparent blown-glass pieces with essential forms, in particular the pieces exemplified by their conic base. Scarpa later designed light glass pieces in brightly colored pasta vitrea, or decorated fenici. Deservedly famous was the refined collection of lattimi decorated with gold or silver leaf, which he presented for the first time in Monza in 1930 together with the canne verticali and millefiori glass works. Giacomo Cappellin closed the workshop in 1932 for bankruptcy, putting an end to the collaboration with Carlo Scarpa. In 1934, Scarpa became the artistic director of Venini & C., where he continued to work through 1947. Alongside Paolo Venini, who often participated in the design of glass, Carlo Scarpa experimented with the vast potential of glass, using and innovating many traditional techniques, by which he created extraordinary modern pieces. After the mezza filigrana glass works came the sommersi, the pasta vitrea inspired by Chinese ceramic motifs, the corrosi, the battuti, the vessels a fasce colorate, a pennellate, the variegati, and the famous multicolored murrine with the surfaces finished at the carving wheel. After World War II, Carlo Scarpa worked almost exclusively as an architect and teacher.

Photograph by Luca Vignelli
A bollicine
Venini & C., 1934-1936

Carlo Scarpa A bollicineVenini & C., 1934-1936

One green globular-footed vase
a bollicine glass.

Acid stamped:
venini murano.
8 5/8 in. high (22 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, blue catalogue, nn. 431, 11012;
G. Ponti, 1959, p. 35;
M. Karasik, 1989, n. 10;
F. Deboni, 1989, n. 46;
M. Heiremans, 1993, n. 197;
Glas Band II, 1995, p. 227;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 76;
A. Venini Diaz de Santillana, 1996, nn. 68, 72;
H. Ricke, E. Schmitt, 1996, n. 22;
M. Barovier, 1997, p. 204;
M. Barovier, 1998 (b), p. 18;
M. Barovier, 1999, p. 167;
Olnick Spanu, 2000, n. 40;
Olnick Spanu, 2001, n. 69.

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.

A bollicine
Venini & C., 1934-1936
Photograph by Luca Vignelli
A bollicine
Venini & C., 1934-1936

Carlo Scarpa A bollicineVenini & C., 1934-1936

Green vase with squared top a bollicine glass. White-footed vase with large stopper a bollicine glass.

Acid stamped:
venini murano
MADE IN ITALY
and venini murano.
7 1/16 in. high (18 cm)
9 7/16 in. high (24 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, blue catalogue, nn. 431, 11012;
G. Ponti, 1959, p. 35;
W. Warmus, 1989, n. 10;
F. Deboni, 1989, n. 46;
M. Heiremans, 1993, n. 197;
Glas Band II, 1995, p. 227;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 76;
A. Venini Diaz de Santillana, 1996, nn. 68, 72;
H. Ricke, E. Schmitt, 1996, n. 22;
M. Barovier, 1997, p. 204;
M. Barovier, 1998 (b), p. 18;
M. Barovier, 1999, p. 167;
A. Venini Diaz de Santillana, 2000, n. 115;
Olnick Spanu, 2000, n. 40;
Olnick Spanu, 2001, n. 68.

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.

A bollicine
Venini & C., 1934-1936
Photograph by Luca Vignelli
A bollicine
Venini & C., 1932-1936

Carlo Scarpa A bollicineVenini & C., 1932-1936

A blue, strongly iridized footed
vase composed of densely bubbled
a bollicine glass. A green vase composed of densely bubbled a bollicine glass with inclusions of red star-shaped murrine.

The blue vase is acid stamped:
venini murano.
8 3/4 in. high (22.2 cm)
4 5/16 in. high (11 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, blue catalogue, n. 11030;
G. Ponti, 1959, p. 35;
M. Karasik, 1989, n. 10;
F. Deboni, 1989, n. 46;
M. Heiremans, 1993, n. 197;
Glas Band II, 1995, p. 227;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 76;
A. Venini Diaz de Santillana, 1996, nn. 68, 72;
H. Ricke, E. Schmitt, 1996, n. 22;
M. Barovier, 1997, p. 204;
M. Barovier, 1998 (b), p. 18;
M. Barovier, 1999, p. 167;
Olnick Spanu, 2000, n. 39;
Olnick Spanu, 2001, n. 67.

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.

A bollicine
Venini & C., 1932-1936
Photograph by Luca Vignelli
A bollicine
Venini & C., 1932-1934

Carlo Scarpa A bollicineVenini & C., 1932-1934

Iridized green glass bowl composed of densely bubbled a bollicine glass.

4 5/16 in. high (11 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:
G. Ponti, 1959, p. 35;
F. Deboni, 1989, n. 46;
M. Heiremans, 1993, n. 197;
Glas Band II, 1995, p. 227;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 76;
A. Venini Diaz de Santillana, 1996, nn. 68, 72;
H. Ricke, E. Schmitt, 1996, n. 22;
M. Barovier, 1997, p. 204;
M. Barovier, 1998 (b), p. 18;
M. Barovier, 1999, p. 167;
Olnick Spanu, 2000, n. 38;
Olnick Spanu, 2001, n. 66.

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.

A bollicine
Venini & C., 1932-1934
Photograph by Luca Vignelli
Incamiciato
Maestri Vetrai Muranesi Cappellin & C., 1930

Carlo Scarpa IncamiciatoMaestri Vetrai Muranesi Cappellin & C., 1930

A large footed vase decorated with a shell in lattimo glass, cased in amethyst-colored glass. The shell and trim in red pasta vitrea. Light applications of gold leaf over the entire surface.

10 3/4 in. high (27.3 cm)
Ø; 14 11/16 in. (37.3 cm)
Exhibitions:
1930, Monza, 4th Esposizione Internazionale delle Arti Decorative e Industriali Moderne;
1931, Amsterdam, Exhibition of modern Italian glass, ceramic, and artistic lacework, Stedelijk Museum;
1964, Venice, 32nd Biennale Internazionale d’Arte, Exhibition of the Decorative Arts of the Venetian Territory;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Dedalo, 1930, fasc. V, p. 321;
Domus, 1930, July, p. 41;
C.A. Felice, 1930, nn. 12, 30, 40, 81, 82;
U. Nebbia, 1930, p. 13;
R. Pacini, 1930, p. 273;
C.A. Felice, 1941, p. 81;
Vetri Murano…, 1981, p. 33;
Vetri di Murano…, 1982, n. 125;
Mostra del vetro…
, 1984, pp. 81, 84;
M. Heiremans, 1996, nn. 85, 86;
F. Deboni, 1996, nn. 70, 71;
M. Barovier, 1997, pp. 198, 199;
M. Barovier, 1999, p. 141;
Olnick Spanu, 2000, n. 32;
Olnick Spanu, 2001, n. 53.

Maestri Vetrai Muranesi Cappellin & C.  1925–1932

M.V.M. Cappellin & C. was founded in 1925 by Giacomo Cappellin after the closing of Cappellin Venini & C. Vittorio Zecchin, a painter from Murano who had worked for Cappellin Venini, continued his collaboration with Cappellin for a short time, designing soffiati, blown glass pieces characterized by delicate colors and pure lines. At the end of 1926, following Zecchin's departure, the young Carlo Scarpa took over the artistic direction of the company. Initially, he proceeded along the course taken by his predecessor, creating lightweight blown pieces with simple geometric forms. These were followed by many collections of refined elegance characterized by various transparent textures and often distinguished by vivid colors. Despite the remarkable success at the 1930 Biennale di Monza, M.V.M. Cappellin & C. was forced to close in January 1932. This was most likely the result of inefficient financial management.

Incamiciato
Maestri Vetrai Muranesi Cappellin & C., 1930