Fulvio BianconiPaolo VeniniFazzoletto, ca. 1950
Fulvio BianconiPaolo VeniniFazzolettoVenini & C., ca. 1950
A handkerchief shaped vessel crafted with zanfirico lattimo canes of glass.
Acid stamped:
venini murano ITALIA.
11 1/4 in. high (28.6 cm)
Exhibitions:
1952, Venice, 26th 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, nn. 4217, 1158;
Domus, October, 1951, p. 29;
R. Aloi, 1952, n. 29;
G. Ponti, 1959, p. 38;
Mille anni…, 1982, n. 649;
R. Barovier Mentasti, 1982, n. 323;
W. Neuwirth, 1987, n. 75;
R. Bossaglia, 1993, nn. 17, 20;
M. Barovier, 1994, nn. 14, 15;
F. Deboni, 1996, nn. 206, 207;
A. Venini Diaz de Santillana, 1996, nn. 130, 132; M. Heiremans, 1996, n. 84; H. Ricke, E. Schmitt, 1996, n. 69; M. Barovier, 1998 (b), p. 231;
Venini Venezia, 1998, p. 68;
M. Barovier, 1999, p. 231;
Olnick Spanu, 2000, n. 82;
Olnick Spanu, 2001, n. 116.
Fulvio Bianconi 1915–1996
Fulvio Bianconi was a graphic artist, caricaturist, and designer. Born in Padua, he attended the Istituto d'Arte and the Accademia di Belle Arti in Venice. He first encountered glass at age fifteen when he studied decoration with enamels under the guidance of Michele Pinto. During the late '30s, he worked as a caricaturist, graphic artist, and illustrator for various publishing houses such as Mondadori, Rizzoli, Garzanti, and others. After World War II, he came to Murano to study glass techniques and met Paolo Venini. A productive relationship ensued as he began a collaboration with Venini in 1947 that lasted through the entire decade of the '50s. One of his most characteristic works is the long series of stylized figurines which Bianconi designed at the end of the '40s, taking his inspiration from the Italian Commedia dell'Arte. His pezzati vessels proved extraordinary due to their richness in color, as were the fazzoletti, presented in several different vitreous textures, which he created with Venini himself. He obtained widespread acclaim for the a Macchie and Fasce orrizontali series, in which Bianconi revealed a marked painterly vocation. In the '50s, he worked with other workshops such as the Vetreria Cenedese, designing vessels with applications and other pieces with cased decorations. From 1958 to 1961, he designed glass pieces for I.V.R. Mazzega. In 1963, he designed for the Vetreria Vistosi. And in 1967, he began working again with Venini, creating vessels with unusual shapes such as the Informale (1968). After another contact with Venini in 1989, he designed for De Majo from 1991 to 1992.
Paolo Venini 1895–1959
Born in Milan, the entrepreneur and designer Paolo Venini was a law school graduate. From 1921 until he died, he dedicated himself to the workshop he founded, the Vetri Soffiati Muranesi Venini & C. (through 1925, Vetri Soffiati Muranesi Cappellin Venini & C.). A man of marked entrepreneurial talent, his goal from the very beginning was to expand his company's influence abroad and he sought the collaboration of the most talented artists and architects of his time, employing them as artistic directors of his company. He always worked at the side of his designers with the goal of anticipating and directing taste. He personally checked every collection produced by his furnace. And his confident aesthetic choices, along with the fine quality of the products, assured his workshop both critical and commercial success. He dedicated himself personally to design from the '30s: his Diamante glass pieces date from 1936, and he created the murrine romane in collaboration with Carlo Scarpa. Following the war, he created bottles with brightly colored stripes, vessels in mosaico zanfirico and mosaico tessuto, glass mosaic windows, and engraved vessels. In collaboration with Bianconi, he created vessels such as the fazzoletti, which are a classic example of the production of the '50s, and were enormously successful.
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.
Fulvio BianconiPaolo VeniniFazzoletto, ca. 1950
Giò PontiA canne, 1955
Giò PontiA canneVenini & C., 1955
Vase crafted with the use of multicolored canes of glass.
Original paper label: venini murano Venezia n. 3703 MADE IN ITALY.
6 3/4 in. high (17.2 cm)
Exhibitions:
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
Domus, 1957, June, advertising insert;
G. Ponti, 1959, p. 41;
Neuwirth, 1987, n. 177;
M. Cousins, 1995, p. 95;
Venini. Catalogo…, p. 99, n. 46.
Olnick Spanu, 2001, n. 115.
Three fazzoletti (handkerchiefs) vases. The one on the left is composed of lattimo glass incamiciato in red glass; the one in the center is turquoise opaline glass; the one on the right is iridescent green glass.
Acid stamped:
venini murano ITALIA, venini murano (circular signature), and venini murano ITALIA.
4 1/2 in. high (11 cm)
3 in. high (8 cm)
5 in. high (12 cm)
Two fazzoletti (handkerchiefs) vases. One composed of lattimo glass incamiciato in black glass; the other is in lattimo glass incamiciato in red glass with a slightly iridized surface.
Acid stamped:
venini murano ITALIA.
10 in. high (25.5 cm)
10 in. high (25.5 cm)
Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà , 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986,
p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.
Giò Ponti 1891–1979
Giò Ponti was born in Milan. After graduating from the Architecture School in Milan, he dedicated himself to architectural design and the decorative arts, a field to which he brought significant innovation. His furniture design and his work for the porcelain manufacturer Richard Ginori, where he was an artistic consultant from 1923 to 1938, were widely acclaimed. In 1928, he founded the prestigious magazine Domus, an effective instrument for the diffusion of contemporary architectural and figurative culture. He was also one of the founders of the group Il Labirinto, which organized the first Triennali di Monza, later to become part of the Triennale di Milano. A close friend of Paolo Venini, they collaborated in experimenting with new styles and trends (forme nuove). He commissioned several lighting installations from Venini and entrusted him with the making of major stained glass windows. In 1946, he himself designed a refined collection of glass pieces for Venini: among them is the bottle with applied spiral (also made in porcelain by Richard Ginori) and the series of colored bottles and goblets a canne.
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.
Giò PontiA canne, 1955
Giò PontiBottiglie morandiane, 1946-1950
Giò PontiBottiglie morandianeVenini & C., 1946-1950
Three stoppered decanters from the Morandiane series composed of multicolored vertical glass canes. The canes on the stoppers match the canes on the bottles.
Acid stamped:
venini murano ITALIA.
18 1/4 in. high (46.4 cm)
14 1/2 in. high (36.8 cm)
18 in. high (45.7 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, green catalogue, nn. 526.10, 526.12, 526.08;
G. Ponti, 1959, p. 41;
A. Gasparetto, 1960, n. 43;
W. Neuwirth, 1987, n. 39, pp. 218, 220;
G. Duplani Tucci, 1989, pp. 54, 55, n. 27;
F. Deboni, 1989, n. 88;
M. Heiremans, 1993, n. 207;
M. Heiremans, 1996, n. 165;
H. Ricke, E. Schmitt, 1996, n. 110;
Venini Venezia, 1998, p. 68;
Olnick Spanu, 2000, n. 77;
Olnick Spanu, 2001, n. 114.
Two incalmo bottles. One has the base and stopper in lattimo, the other base and stopper are blue pasta vitrea. Both have the neck in grey transparent grey glass.
Acid stamped:
venini murano ITALIA.
13 3/4 in. high (35 cm)
13 3/4 in. high (35 cm)
Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà , 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986,
p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.
Two stoppered incalmo bottles from the Morandiane series. One is straw and light aubergine glass with a straw colored stopper, the other is straw and blue glass witha a blue stopper.
Acid stamped:
venini murano ITALIA.
13 1/2 in. high (34 cm)
13 1/2 in. high (34 cm)
Bibliography and comparative texts:
R. Linzeler, 1922, p. 666;
C. Carrà , 1923, p. 67;
R. Linzeler, 1923, p. 83;
R. Papini, 1930, n. 570;
G. Mariacher, 1967, p. 98;
R. Barovier Mentasti, 1982, n. 252;
Mille anni…, 1982, n. 503;
F. Deboni, 1984, p. n. 70;
W. Neuwirth, 1987, nn. 7, 104;
A. Dorigato, 1986,
p. 71;
F. Deboni, 1989, n. 1;
L’arte del vetro, 1982, n. 307;
M. Heiremans, 1993, n. 191;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 15;
A. Venini Diaz de Santillana, 1996, n. 1;
R. Barovier Mentasti, 1998, n. 25;
A. Venini Diaz de Santillana, 2000, n. 1;
Olnick Spanu, 2000, n. 8;
Olnick Spanu, 2001, n. 13.
Giò Ponti 1891–1979
Giò Ponti was born in Milan. After graduating from the Architecture School in Milan, he dedicated himself to architectural design and the decorative arts, a field to which he brought significant innovation. His furniture design and his work for the porcelain manufacturer Richard Ginori, where he was an artistic consultant from 1923 to 1938, were widely acclaimed. In 1928, he founded the prestigious magazine Domus, an effective instrument for the diffusion of contemporary architectural and figurative culture. He was also one of the founders of the group Il Labirinto, which organized the first Triennali di Monza, later to become part of the Triennale di Milano. A close friend of Paolo Venini, they collaborated in experimenting with new styles and trends (forme nuove). He commissioned several lighting installations from Venini and entrusted him with the making of major stained glass windows. In 1946, he himself designed a refined collection of glass pieces for Venini: among them is the bottle with applied spiral (also made in porcelain by Richard Ginori) and the series of colored bottles and goblets a canne.
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.
Giò PontiBottiglie morandiane, 1946-1950
Carlo ScarpaConchiglie, 1942
Carlo ScarpaConchiglieVenini & C., 1942
Three seashells. The shell on the top is composed of clear cristallo, the middle of straw-colored glass, and the bottom one is in pink glass.
All three are strongly iridized.
All acid stamped:
venini murano
MADE IN ITALY and venini murano ITALIA.
Original paper label.
6 in. long (15.2 cm)
9 13/16 in. long (25 cm)
7 in. long (17.8 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. 4556;
R. Aloi, 1945, n. 23;
F. Deboni, 1989, nn. 77, 79;
M. Barovier, 1991, n. 57;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, p. 52;
H. Ricke, E. Schmitt, 1996, n. 49;
M. Barovier, 1997, p. 224;
Olnick Spanu, 2000, n. 76;
Olnick Spanu, 2001, n. 113.
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 ScarpaConchiglie, 1942
Carlo ScarpaDecoro a fili, 1942
Carlo ScarpaDecoro a filiVenini & C., 1942
Bowl in clear glass decorated
with shades of brown fili (threads)
of glass. The entire surface is
highly iridized.
Acid stamped:
venini murano ITALIA.
4 in. high (10.1 cm)
Ø; 10 in. (25.4 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. 4569;
M. Barovier, 1991, n. 53;
H. Ricke, E. Schmitt, 1996, n. 48;
M. Barovier, 1997, p. 224;
Olnick Spanu, 2000, n. 75;
Olnick Spanu, 2001, n. 112.
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.