Carlo ScarpaA fili, 1942
Carlo ScarpaA filiVenini & C., 1942
A clear glass vase decorated with horizontal fili (threads) of colored glass. The entire surface is lightly battuto (etched) horizontally.
7 1/8 in. high (18.1 cm)
Exhibitions:
1942, Venice, 23rd 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:
G. Ponti, 1959, p. 42;
Vetri Murano…, 1981, p. 105;
W. Neuwirth, 1987, p. 216;
F. Deboni, 1989, nn. 80, 81, 85;
G. Duplani Tucci, 1989, n. 19;
M. Karasik, n. 13;
M. Barovier, 1991, n. 56;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, nn. 70, 73;
F. Deboni, 1996, nn. 200, 201;
A. Venini Diaz de Santillana, 1996, n. 120;
M. Heiremans, 1996, n. 69;
H. Ricke, E. Schmitt, 1996, n. 44;
M. Barovier, 1997, p. 222;
M. Barovier, 1998 (b), n. 31;
M. Barovier, 1999, p. 186;
Olnick Spanu, 2000, n. 69;
Olnick Spanu, 2001, n. 103.
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.
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.
Carlo ScarpaA fili, 1942
Carlo ScarpaA fasce, 1942
Carlo ScarpaA fasceVenini & C., 1942
A double gourd-shaped vase composed of lightly iridized clear glass decorated with horizontal fasce of colored glass.
Acid stamped (circular): venini murano.
8 1/2 in. high (21.6 cm)
Exhibitions:
1942, Venice, 23rd 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. 4562;
G. Ponti, 1959, p. 42;
Vetri di Murano…, 1981, p. 105;
W. Neuwirth, 1987, p. 216;
F. Deboni, 1989, nn. 80, 81, 85;
G. Duplani Tucci, 1989, n. 19;
M. Karasik, n. 13;
M. Barovier, 1991, n. 56;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, nn. 70, 73;
F. Deboni, 1996, nn. 200, 201;
A. Venini Diaz de Santillana, 1996, n. 120; M. Heiremans, 1996, n. 69;
H. Ricke, E. Schmitt, 1996, n. 44;
M. Barovier, 1997, p. 222;
M. Barovier, 1998 (b), p. 31;
M. Barovier, 1999, p. 186;
Olnick Spanu, 2000, n. 68;
Olnick Spanu, 2001, n. 102.
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.
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.
Carlo ScarpaA fasce, 1942
Carlo ScarpaPiatto del serpente, 1940
Carlo ScarpaPiatto del serpenteVenini & C., 1940
Bowl finished with a light etching at the carving wheel, crafted with murrine in black pasta vitrea and red and white murrine arranged to look like a serpent twisted into a spiral.
Engraved: venini italia.
2 3/8 in. high x 14 1/2 in. x 9 3/4 in. (6.1 x 36.2 x 24.7 cm)
Exhibitions:
1940, Venice, 22nd 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. 4873;
G. Dell’Oro, 1940, p. 54; G. Ponti, 1940, p. 69; Domus, 1951, October,
p. 29; G. Mariacher, 1954, p. 169;
R. Aloi, 1955, p. 22; A. Gasparetto, 1960, n. 37; Mille anni…, 1982, n. 531;
R. Barovier Mentasti, 1982, p. 283;
W. Neuwirth, 1987, p. 200;
F. Deboni, 1989, nn. 65, 71-73;
M. Karasik, 1989, n. 32; H. Ricke, 1990, p. 23; M. Barovier, 1991, nn. 45, 51; Vetri di Murano…, 1991, p. 119;
L’arte del vetro…, 1992, p. 251;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 59; F. Deboni, 1996, n. 197; M. Barovier, 1997,
p. 221; R. Barovier Mentasti, 1998, n. 97; M. Barovier, 1999, p. 187;
Olnick Spanu, 2000, n. 67;
Olnick Spanu, 2001, n. 101.
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.
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.
Carlo ScarpaPiatto del serpente, 1940
Carlo ScarpaMurrine opache, 1940
Carlo ScarpaMurrine opacheVenini & C., 1940
Canoe-shaped bowl made of red and black murrine with black and red murrine at the center, entirely finished at the carving wheel.
Paper label: Venini n. 4883.
13 3/16 in. x 2 5/8 in.
(31 x 6.7 cm)
Bowl made of murrine in red and black pasta vitrea with yellow and red murrine at the center, finished with light etching at the wheel.
3 in. high x 14 3/8 in.
x 9 1/8 in.
(7.6 x 36.5 x 23.2 cm)
Bowl made of murrine in red and black pasta vitrea, with black and red murrine at the center, finished with light etching at the wheel.
Original 1940s Venini paper label.
2 7/8 in. high (7.3 cm)
Ø; 11 in. (28 cm)
Bibliography
1940, Venice, 22nd Biennale Internazionale d’Arte;
2000, New York,
Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography
Venini, grey catalogue, nn. 4883, 4872, 4871; G. Dell’Oro, 1940, p. 54;
G. Ponti, 1940, p. 69; Domus, 1951, October, p. 29; G. Mariacher, 1954,
p. 169; R. Aloi, 1955, p. 22;
A. Gasparetto, 1960, n. 37;
Mille anni…, 1982, n. 531;
R. Barovier Mentasti, 1982, p. 283;
W. Neuwirth, 1987, p. 200;
G. Duplani Tucci, 1989, nn. 15, 21;
F. Deboni, 1989, nn. 65, 71-73; H. Ricke, 1990, p. 23;
M. Barovier, 1991, nn. 45, 51;
Vetri di Murano…, 1991, p. 119;
L’arte del vetro…, 1992, p. 251;
M. Barovier, 1994, nn. 9, 11;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 59;
F. Deboni, 1996, n. 197;
A. Venini Diaz de Santillana, 1996, n. 113; H. Ricke, E. Schmitt, 1996, nn. 37, 38; M. Barovier, 1997, p. 221;
R. Barovier Mentasti, 1998, n. 97;
M. Barovier, 1999, p. 187; A. Venini Diaz de Santillana, 2000, n. 143;
Olnick Spanu, 2000, n. 65, 66, 67;
Olnick Spanu, 2001, n. 100.
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.
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.
Carlo ScarpaMurrine opache, 1940
Carlo ScarpaBattuti, 1940
Carlo ScarpaBattutiVenini & C., 1940
Three glass vases, one black, one yellow and one white in lattimo.
All three are cased in straw-colored glass with their entire surfaces finished at the carving wheel.
Acid stamped:
venini murano ITALIA.
16 1/4 in. high (41.2 cm)
7 5/8 in. high (19.4 cm)
14 1/4 in. high (36.2 cm)
Exhibitions:
1940, Venice, 22nd Biennale Internazionale d’Arte; 1940, Milan,
7th 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, nn. 3919, 3943 A, 3939; G. Ponti, 1940, p. 70;
R. Aloi, 1945, nn. 10, 13;
M. Brusatin, 1972, p. 24;
Carlo Scarpa…, 1984, p. 185;
La verrerie…, 1988, p. 117;
F. Deboni, 1989, n. 58-63;
M. Barovier, 1991, nn. 23, 32;
R. Barovier Mentasti, 1992, n. 69;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 54;
F. Deboni, 1996, n. 193;
H. Ricke, E. Schmitt, 1996, nn. 42.43;
M. Barovier, 1997, p. 219;
M. Barovier, 1998 (b), p. 27;
M. Barovier, 1999, p. 187;
Olnick Spanu, 2000, n. 64;
R. Reif, New York Times, 2000, p. 39;
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.
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.