Mary Ann ZynskyFolto, 1984

Mary Ann ZynskyFoltoVenini & C., 1984

A turquoise bowl cased inlattimo glass decorated with a random design of pink and pale blue threads.

Engraved: Zinsky x Venini 1984.
7 1/4 in. high (18.5 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.

Artist

Mary Ann Zynsky 1951–

Designer Mary Ann "Toots" Zynsky was born in Boston and attended the Rhode Island School of Design, the Pilchuck Glass School, and the Craft School at Haystack, taking part in various experiences and experiments. From 1981 to 1983, she collaborated with Venini, where, with the help of maestro Checco Ongaro, she created a remarkable series of pieces. Among these are the vessels called Folto, whose openings have wide turned-over lips, and decorations with glass rods produced out of hair-thin threads made with a technique she invented herself. Her works are present not only in the major international museums, but also in the White House amidst the works of the best American artists.

Workshop

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.

Mary Ann ZynskyFolto, 1984

Ermanno TosoCaccia, 1984

Information

Ermanno TosoCacciaBarovier & Toso, 1984

Cylindrical vase composed of two alternating glass bands. One band is made of circular cristallo, lattimoand blue tessere, the other is Diamond-shaped cristalloand black tessere.

9 in. high (23 cm)

Artist

Ermanno Toso 1903–1973

Born on Murano, Ermanno Toso began to work at the Fratelli Toso workshop in 1924, where he was later to become a partner. In 1936, he was named artistic and marketing director of the company. During the period preceding World War II, he created thick glass pieces using traditional decorative techniques that were characterized by simple and solid shapes inspired by the Novecento style. During the '50s, he created a collection of extraordinarily lightweight glass pieces based on a modern interpretation of classical techniques, such as filigrana and murrina. During the '60s, his creative talent led him towards an absolute multicolored sobriety.

Workshop

Barovier & Toso 1942–

In 1936, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier. In 1939, it became Barovier Toso & C., and finally, in 1942, its name was changed to Barovier & Toso. Ercole Barovier remained artistic director of the company through 1972 and was succeeded by his son, Angelo, who was already a designer for the company. Beginning in the '80s and continuing through today, many have designers collaborated with Barovier & Toso. Among them are Matteo Thun, Toni Zuccheri, Renato and Giusto Toso, and Noti Massari. The company’s most recent productions have been created by designers like Roberto Caddeo, Marco Mencacci, Franco Raggi, Luca Scacchetti, and others. Barovier & Toso is currently directed by Angelo, his son Jacopo, and Giovanni Toso.

Ermanno TosoCaccia, 1984

Ermanno TosoIntarsio, 1961–1963

Information

Ermanno TosoIntarsioBarovier & Toso, 1961–1963

Vase composed of grey and red triangular shaped transparent glass patchessommersi in cristallo.

12 in. high (30 cm)

Artist

Ermanno Toso 1903–1973

Workshop

Barovier & Toso 1942–

Ermanno TosoIntarsio, 1961–1963

Ermanno TosoNeolitico, 1954

Information

Ermanno TosoNeoliticoBarovier & Toso, 1954

Two tall glass vessels. The vessel on the left is composed of intersectingcristallo and aquamarine canes; the vessel on the right is composed of intersecting cristallo and amethyst canes.

16 in. high (41 cm)
14 in. high (36 cm)

Artist

Ermanno Toso 1903–1973

Workshop

Barovier & Toso 1942–

Ermanno TosoNeolitico, 1954

Archimede SegusoSfumato, 1954

Information

Archimede SegusoSfumatoVetreria Archimede Seguso, 1954

A vessel in transparent red glass with one large aperture, two side lips and a stylized handle; inclusions of gold leaf throughout.

11 1/2 in. high (29 cm)

Artist

Archimede Seguso 1909–1999

Born on Murano and the son of the maestro Antonio Seguso, Archimede Seguso began work at a very early age in the Vetreria Artistica Barovier, where his father was a partner. In 1933, he was one of the founding partners of the Artistica Vetreria e Soffieria Barovier Seguso & Ferro, which was later to become the Seguso Vetri d'Arte. Here, Archimede worked asmaestro of the principal team crafting the pieces designed by Flavio Poli, and later his own pieces inspired by the Novecento style. He sold his share of the workshop to his partners and, in 1946, founded a new workshop, the Vetreria Artistica Archimede Seguso, where he was first maestro and creator of almost all the works produced there. The first glass pieces were still inspired by the Novecento, as were his sculptures modeled in hot glass; at the same time he experimented with thin blown glass textured in many ways, adapting ancient decorative techniques to the styles of the '50s such as, for example, the variations of filigrana that he presented throughout the decade (Merletti, Composizione Lattimo, Piume, etc.). During the '60s and '70s, he created intensely colored glass works such as the colori sovrapposti and the fasce sovrapposte, and further pushed the filigrana technique with his Spinati, and a petali glass pieces. Later on, he based his production on strong contrasting colors. Among his last works is the series of sculptures called Rotture, conceived as original works and made in solid massiccio sommerso glass, a realization of the profound reflections of this artist who later died on the island of Murano.

Workshop

Vetreria Archimede Seguso 1946–

Vetreria Archimede Seguso was founded in 1946 by Archimede Seguso, partner and glassmaster at Seguso Vetri d'Arte until 1942. Seguso was not only the tireless creator of almost all the collections produced by Vetreria Archimede Seguso, he executed his own works and experimented with new techniques and materials. He participated in the Biennali di Venezia and the Triennali di Milano from 1950 on, presenting, among other things, his own personal interpretations of the ancient technique of filigrana. His interpretaions, vessels often enriched with applications of gold leaf, he called Merletti. The company is now run by his son Gino Seguso, with the assistance of his grandson Antonio Seguso.

Archimede SegusoSfumato, 1954