Tommaso Buzzi 1900–1981

Architect and designer Tommaso Buzzi was born in Sondrio and graduated in Architecture at the Politecnico di Milano. In Milan, he worked in the fields of architecture, interiors, graphic design, set design, and applied arts. In 1927, he joined the association Il Labirinto, founded to “promote the spreading of modern decorative arts in the home,” to which Paolo Venini, Giò Ponti, Carla Visconi di Modrone, Emilio Lancia and Pietro Chiesa also belonged. From 1932 to 1934, he was artistic director at Venini & C., for whom he designed a very refined series of works. They were characterized by the elegant Novecento styles in lattimo and opaque turquoise glass with black detailing and clear pieces with branch-like applications. Experimenting with traditional techniques, he also designed vessels and bowls with unusual colors. His best-known series—his Alba, Laguna, and Alga—are known for their pastel tones, which were created by using several successive thin layers of glass and then a final application of gold leaf. After World War II, Buzzi concluded his experience with glass art and dedicated himself to painting.

Photograph by Luca Vignelli
Alba
V.S.M. Venini & C., 1933
Information
Photograph by Luca Vignelli

Tommaso Buzzi AlbaV.S.M. Venini & C., 1933

A footed pitcher in light blue alba glass, cased with several layers of colored glass, incamiciato.
Heart-shaped mouth. Foot and prunted collar in cristallo glass.
The whole pitcher decorated with gold leaf applications.

6 1/2 in. high (16.5 cm)

Exhibitions:
1933, Milan, 5th 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. 3464;
R. Aloi, 1955 p. 27;
Mille anni…, 1982, n. 527;
F. Deboni, 1989, n. 38;
R. Barovier Mentasti 1992, n. 57;
A. Venini Diaz de Santillana, 1996, nn. 53, 55;
R. Barovier Mentasti, 1998, nn. 52, 54;
M. Barovier, 1999, p. 161;
Olnick Spanu, 2000, n. 35;
Olnick Spanu, 2001, n. 56.

Workshop
Photograph by Luca Vignelli

V.S.M. Venini & C.  1925–1932

In 1925, following the closing of Cappellin Venini & C., Paolo Venini founded his own glass company, which he called Vetri Soffiati Muranesi Venini & C. (V.S.M. Venini & C.). While the company, under the artistic direction of sculptor Napoleone Martinuzzi, produced collections designed by Vittorio Zecchin, it soon became known for the pulegosi, an original style created by Venini and Martinuzzi.

In 1932, both Martinuzzi and Zecchin left the company. Paolo Venini changed the name of the company to Venini & C. and Milanese architect Tommaso Buzzi became the new artistic director.

Alba
V.S.M. Venini & C., 1933
Photograph by Luca Vignelli
Turchese e nero
V.S.M. Venini & C., 1932
Information
Photograph by Luca Vignelli

Tommaso Buzzi Turchese e neroV.S.M. Venini & C., 1932

Footed plate in turquoise glass with conical foot in black pasta vitrea.

Acid stamped:
venini murano.
2 3/4 in. high (7 cm)
Ø; 17 5/16 in. (44 cm)

Exhibitions:
1932, Venice, 18th Biennale Internazionale d’Arte;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu,
Spazio Oberdan.

Bibliography and comparative texts:
Venini, blue catalogue, n. 3261;
Domus, 1932, July, p. 417;
F. Deboni, 1989, n. 37;
M. Romanelli, 2000, p. 78;
Venini. Catalogo…, 2000, p. 126, nn. 77-78;
Olnick Spanu, 2001, n. 55.

Workshop
Photograph by Luca Vignelli

V.S.M. Venini & C.  1925–1932

In 1925, following the closing of Cappellin Venini & C., Paolo Venini founded his own glass company, which he called Vetri Soffiati Muranesi Venini & C. (V.S.M. Venini & C.). While the company, under the artistic direction of sculptor Napoleone Martinuzzi, produced collections designed by Vittorio Zecchin, it soon became known for the pulegosi, an original style created by Venini and Martinuzzi.

In 1932, both Martinuzzi and Zecchin left the company. Paolo Venini changed the name of the company to Venini & C. and Milanese architect Tommaso Buzzi became the new artistic director.

Turchese e nero
V.S.M. Venini & C., 1932
Photograph by Luca Vignelli
Turchese e nero
V.S.M. Venini & C.Maestri Vetrai Muranesi Cappellin & C., 1932
Information
Photograph by Luca Vignelli

Tommaso Buzzi Turchese e neroV.S.M. Venini & C.Maestri Vetrai Muranesi Cappellin & C., 1932

A turquoise glass bowl with a black conic foot with applied outlined fish.
Fish decor and trim in black glass.

Paper label: Vetri Soffiati Muranesi Venini & C.,
4 1/4 in. high (10.8 cm)

Exhibitions:
1932, Venice, 18th 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:
P. Chiesa, 1932, p. 417;
F. Deboni, 1989, n. 36;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 28;
F. Deboni, 1996, p. 73;
A. Venini Diaz de Santillana, 1996, n. 51;
Olnick Spanu, 2000, n. 33;
Olnick Spanu, 2001, n. 54.

Workshop
Photograph by Luca Vignelli

V.S.M. Venini & C.  1925–1932

In 1925, following the closing of Cappellin Venini & C., Paolo Venini founded his own glass company, which he called Vetri Soffiati Muranesi Venini & C. (V.S.M. Venini & C.). While the company, under the artistic direction of sculptor Napoleone Martinuzzi, produced collections designed by Vittorio Zecchin, it soon became known for the pulegosi, an original style created by Venini and Martinuzzi.

In 1932, both Martinuzzi and Zecchin left the company. Paolo Venini changed the name of the company to Venini & C. and Milanese architect Tommaso Buzzi became the new artistic director.

Photograph by Luca Vignelli

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.

Turchese e nero
V.S.M. Venini & C.Maestri Vetrai Muranesi Cappellin & C., 1932