Carlo ScarpaPasta vitrea, 1929-1930
Carlo ScarpaPasta vitreaMaestri Vetrai Muranesi Cappellin & C., 1929-1930
Vase in green pasta vitrea with applications of gold leaf.
Signature etched with acid:
M.V.M. Cappellin Murano.
8 1/4 in. high (21 cm)
Exhibitions:
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
Domus, 1930, January, p. 38;
Mostra di vetri…, 1931, pp. 22, 23;
Venezianisches Glas…, 1981, p. 64;
Murano Glass…, 1982, n. 122;
Mostra del vetro…, 1984, p. 83;
M. Karasik, 1989, n. 4;
M. Barovier, 1991, nn. 1, 2;
M. Barovier, 1997, p. 194;
M. Barovier, 1998 (a), pp. 7-9;
M. Barovier, 1999, p. 141;
Olnick Spanu, 2001, n. 41.
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.
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.
Carlo ScarpaPasta vitrea, 1929-1930
Carlo ScarpaMillefiori, 1930-1931
Carlo ScarpaMillefioriMaestri Vetrai Muranesi Cappellin & C., 1930-1931
Millefiori footed bowl cased in light blue lattimo glass with inclusions of circular light blue murrine.
Acid stamped: M.V.M. Cappellin Murano.
8 1/4 in. high (21 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;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.
Bibliography and comparative texts:
Millefiori: M.V.M. Catalogue, n. 5821;
C.A. Felice 1930, n. 12;
Mostra di vetri…, 1931, p. 25;
M. Barovier, 1991, n. 10;
R. Barovier Mentasti, 1992, n. 66;
L’arte del vetro…, 1992, p. 241;
M. Heiremans, 1993, n. 87;
F. Deboni, 1996 n. 67;
M. Heiremans, 1996, n. 36;
M. Barovier, 1997, pp. 200, 201;
M. Barovier, 1998 (b), p. 14;
M. Barovier, 1999, p. 141;
Olnick Spanu, 2000, n. 26;
Olnick Spanu, 2001, n. 42.
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.
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.
Carlo ScarpaMillefiori, 1930-1931
Giuseppe BarovierA murrine, ca. 1919
Giuseppe BarovierA murrineArtisti Barovier, ca. 1919
A vetro mosaico vase crafted with spiraling white and yellow, and white and red murrine. The central part is decorated with a stripe ofavventurina glass, creating a greca pattern with the use of white and blue murrine.
Signed with a glass murrina bearing the initials AB, above which rises a crown.
11 7/16 in. high (29 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:
R. Barovier Mentasti, 1992, n. 38;
M. Barovier, 1993, n. 50;
M. Barovier, 1994, n. 1;
M. Barovier, 1999, p. 93;
Olnick Spanu, 2000, n. 3;
Olnick Spanu, 2001, n. 5.
Giuseppe Barovier 1853–1942
Giuseppe Barovier went to work at the Compagnia di Venezia e Murano at a very young age and soon, due to his exceptional skills, became a maestro. He distinguished himself in various fields, from the decoration of blown pieces to the execution of murrine glass to chandeliers. In 1877, he left the Compagnia di Venezia e Murano to follow Antonio Salviati to his new glass workshop called Salviati dott. Antonio, where he worked with his brother, Benvenuto. After the Baroviers took over the ownership of the furnace in 1883, renaming it Artisti Barovier in 1890, Giuseppe became maestro and designer with his brother. Among his many creations that deserve mention are his refined murrine, which the Artisti Barovier presented at the Cà Pesaro exhibitions. When Artisti Barovier was liquidated in 1919, he, his brother Benvenuto, and their sons founded the Vetreria Artistica Barovier & C., where he worked until the end of the ‘20s.
Artisti Barovier 1890–1919
Giovanni Barovier and his nephews Giuseppe, Benvenuto, and Benedetto worked as glassblowers at the Salviati dott. Antonio furnace, founded in 1877. In 1884, after Salviati's departure, they acquired ownership of the company. On the basis of an agreement signed with Salviati, the company maintained its original name until Salviati's death in 1890. It then changed its name to Artisti Barovier. Under the guidance of Benvenuto and Giuseppe, the company reproduced the classical themes of nineteenth-century glass and soon achieved fame for the refinement of its production. Works executed later, particularly a murrine, were inspired by floral themes. The Artisti Barovier took several of these pieces to different exhibitions, including the Cà Pesaro (1908, 1909, 1913), where pieces designed by Zecchin and Wolf-Ferrari were also shown. During World War I, the furnace was temporarily moved to Livorno in Tuscany. In 1919, the company name was changed to Vetreria Artistica Barovier and several new partners were added. Among them were Ercole Barovier and Nicolò Barovier, Benvenuto Barovier's sons, and Giuseppe Barovier's son Napoleone.
Giuseppe BarovierA murrine, ca. 1919
Carlo ScarpaFenici, 1928-1931
Carlo ScarpaFeniciMaestri Vetrai Muranesi Cappellin & C., 1928-1931
Two decoro fenicio vases. One is cased in pink lattimo glass and
pink trim, the other in light blue glass and blue trim.
Acid stamped: M.V.M. Cappellin Murano.
7 1/2 in. high (19 cm)
10 1/4 in. high (26 cm)
Exhibitions:
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:
M.V.M. Catalogue, n. 5934;
Domus, 1930, January, p. 38;
M. Barovier, 1991, nn. 3, 4;
R. Barovier Mentasti, 1992, n. 62;
L’arte del vetro…, 1992, p. 243;
H. Newman, 1993, p. 145;
Glas Band II, 1995, p. 232;
M. Heiremans, 1996, n. 32;
F. Deboni 1996, n. 66;
M. Barovier, 1997, p. 195;
M. Barovier, 1998, pp. 8, 9;
Olnick Spanu, 2000, n. 26;
Olnick Spanu, 2001, n. 43.
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.
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.
Carlo ScarpaFenici, 1928-1931
Nicolò BarovierA murrine, 1924
Nicolò BarovierA murrineVetreria Artistica Barovier, 1924
A vetro mosaico vase crafted with multicolored translucent tessere and canes of glass. The tessere are set to create an extraordinary and unique decorative pattern.
Engraved:
N. Barovier Murano.
12 1/4 in. high (31.1 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:
R. Barovier Mentasti, 1977, n. 2;
A. Dorigato, 1989, n. 2;
R. Barovier Mentasti, 1992, n. 40;
M. Barovier, 1993, n. 66;
Olnick Spanu, 2000, n. 4;
Olnick Spanu, 2001, n. 6.
Nicolò Barovier 1895–1947
The son of Benvenuto Barovier, Nicolò Barovier was both an entrepreneur and a designer. He and his brother, Ercole Barovier, joined the Vetreria Artistica Barovier & C. in 1919 as partners and glass designers. After 1926, they both became managers of the company. His familiarity with contemporary painting led him to produce extraordinary murrine vessels, which can be recognized for their elaborate geometric patterns and their unique colors. From 1932 on, he shared ownership of Vetreria Artistica Barovier & C. with his brother Ercole. He worked actively in the glass workshop through 1936.
Vetreria Artistica Barovier 1919–1936
In 1919, Artisti Barovier changed its name to Vetreria Artistica Barovier and several new partners were added. Among them were Ercole Barovier and Nicolò Barovier, Benvenuto Barovier's sons, and Giuseppe Barovier's son Napoleone. In 1926, Ercole and Nicolò Barovier took over the management of the company and both became artistic directors, creating, among other things, sophisticated multicolored vessels a murrine and singular animals in blown glass. After 1932, Nicolò and Ercole Barovier became sole proprietors of the company. Ercole designed many objects that earned the company remarkable success, among them the Primavera series. A tireless creator of new collections and glass textures, Ercole Barovier dedicated himself to perfecting the colorazione a caldo senza fusione, which he began using during the second half of the '30s. In 1936, after the separation from his brother Nicolò, Ercole Barovier became partner of the S.A.I.A.R. Ferro Toso, forming Ferro Toso e Barovier.