PAOLO VENINI AND HIS FURNACE

edited byMarino Barovier and Carla Sonego

PAOLO VENINIAND HIS FURNACE

Exhibition curated byMarino Barovier

Exhibition projectMarino Barovier

Catalogue edited byMarino Barovier and Carla Sonego

Scientific research and coordinationCarla Sonego

Catalogue graphic projectTapiro Camplani+Pescolderung

Coordination of editorial designand layoutEnrico FioreseFrancesca Tiengo

PhotographsEnrico Fiorese

Translations from Italian into EnglishScarlet SweetmanMícheál Ua Nunáin

Head of conservationLuisa Mensi

RegistrarLaura Corazzol

VideoGianluigi CalderoneAntonio Pintus

Exhibition set-upOTT ART prodotti per l’arte Giacomo Andrea Doria

TransportsApice - VeniceAlice Zanon

InsuranceAssicurazioni GeneraliMarine & Aviation JLT – Divisione Fine-ArtAlberto MagniZilkens Fine Art, Insurance Broker GmbH

Paolo Venini and His Furnace

Exhibition organized byLE STANZE DEL VETRO

Island of San Giorgio Maggiore Venezia

LE STANZE DEL VETRO

A joint initiative of Fondazione Giorgio Cini and Pentagram Stiftung

Scientific committeeLuca Massimo Barbero ChairmanMarino Barovier Rosa Barovier MentastiDavid LandauJean-Luc OliviéNico Stringa

Coordination managementFondazione Giorgio Ciniand Pentagram StiftungMaria Novella Benzoni

Fondazione Giorgio Cini

ChairmanGiovanni Bazoli

Secretary GeneralPasquale Gagliardi

Facility coordination and managementMaria Novella Benzoni Erica Galvan

Technical departmentMassimo AltieriAdriano LonghinGloria Pasqualetto

Marketing and communicationdepartmentEmilio QuintèSerena ConconeGiovanna Aliprandi

Press officeCASADOROFUNGHER Comunicazione Management Mauro FrongiaMichele Ballarin

Istituto di Storia dell’Arte

DirectorLuca Massimo Barbero

Coordination managementSimone Guerriero

SecretariatRossella Patrizio

Centro Studi del Vetro

Marzia ScalonSabina Tutone

Pentagram Stiftung

ChairmanMarie-Rose Kahane

Head of cultural projectsFrancesca Nisii

Exhibition set-up designLE STANZE DEL VETROSelldorf ArchitectsF. Cattaruzza and F. MillosevichArchitetti Associati

Exhibition lighting designAlessandro Diaz de SantillanaFontanaArteOTT ART Andrea Riato

CommunicationCASADOROFUNGHER Comunicazione

Social mediaSilvia Casalini Martinelli

Graphic design of communication materialsb-r-u-n-o

Organisational coordinator Fiammetta Calzavara

Educational projectArtsystemAnna Fornezza

SecreteriatChiara Brescacin

Reception ArtsystemValentina StellaSara Benetti

Reception and securityIniziative VeneteRoberto De Zorzi

Technical sponsorshipArtsystem

All rights reserved under international copyright conventions. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.

© 2016 Servizi Fondazione Pentagram srl© 2016 The authors for their texts© 2016 Skira editore, Milan

First published in Italy in 2016 bySkira Editore S.p.A.Palazzo Casati Stampavia Torino 6120123 MilanoItalywww.skira.net

Printed and bound in Italy. First edition

ISBN: 978-88-572-3354-3

Distributed in USA, Canada, Central & South America by Rizzoli International Publications, Inc., 300 Park Avenue South, New York, NY 10010, USA.Distributed elsewhere in the world by Thames and Hudson Ltd., 181A High Holborn, London WC1V 7QX, United Kingdom

Photo creditsp. 380, no. 2951, photo Marika Bogren p. 71, [2], p. 383, f.c., photo Monica Elmshornp. 70, [1] photo Raymond Hejdströmp. 328, photo Matteo Imbrianip. 75, [11], photo Karl Melanderp. 381, no. 2954, photo Jan Nyborgpp. 392, 398, digital image The Art Institute of Chicago

© Photo from Blomqvist, p. 524 © MIT Museum Courtesy, Cambridge, MA, p. 66© Per Myrehed/Norrköpings Art Museum, p. 74© Photo Nationalmuseum, Stockholm, p. 383, f.c.© Rhode Island School of Design© The Steinberg Foundation, p. 374, no. 2695, p. 303, no. 2892, p. 130, no. 4380, p. 441, no. 3613, p. 205, no. 4886, p. 193, no. 4884, p. 377, no. 2694a, p. 127, no. 3665

Many thanks also to Venini spa for the great kindness shown in allowing the consultation of their archive materials in preparation for the catalogue and the exhibition

Marino Barovier also wishes to express his thanks to the authors of the essays in the catalogue. He is particularly grateful to Marie-Rose Kahane and David Landau, Pasquale Gagliardi, Giancarlo Chimento and Giorgio, Guido and Silvia Grassi Damiani.

We would like to thank the museums, foundations, public and private archives, collectors, scholars and all those who have contributed to this project:

Tommaso ZaniniAlice ZanonFrancesco ZanonGino ZanonErmes ZanzaniAlma ZeviPatricia and Rainer ZietzAlessandro Zoppi

Chrysler Museum of Art, Norfolk, VAFondazione di Venezia, VeneziaGotlans Museum, Visby (Svezia)MIT Museum, Cambridge, MANationalmuseum, StoccolmaThe Corning Museum of Glass, Corning, NYThe National Museum of Art, Architecture and Design, Oslo

Fondazione Musei Civici di VeneziaGiovanna Damiani, Soprintendente per il patrimonio storico, artistico ed etnoantropologico e per il Polo Museale della città di Venezia e dei comuni della gronda lagunareFondazione Giorgio Cini Onlus, VeneziaThe Steinberg Foundation, Vaduz

Archivi della Triennale di Milano, Milano Archivio Marino Barovier, VeneziaArchivio Laura de Santillana,VeneziaArchivio Howard Lockwood, New JerseyArchivio Anna Venini Diaz de Santillana, VeneziaArchivio Storico delle Arti Contemporanee, VeneziaArchivio Storico Luce, RomaArchivio Storico Venini, MuranoArchivi Svenskt Tenn, Svezia The Institutional Archives of the Art Institute of Chicago

Auction houses:Blomqvist Christie’s Inc.Della RoccaIl PonteNeumeisterPorroQuittenbaumRipleySotheby’sWright

We would also like to thank all those who prefer to remain anonymous

Maria Alicata Massimo AltieriStanislas AnthoniozGuido AntonelloSelldorf ArchitectsJosé AriasMarco ArosioVivian AtlerRiccardo AvanziGiorgio Baggi SisiniLuca Massimo BarberoMarina BarovierRosa Barovier MentastiClaudio BazzichettoLauren BenechMaria Novella BenzoniMargaret BestzMaurizio BianchiniGiuliano BiasuttoGiancarlo BisazzaChristina and Bruno BischofbergerKath BoonPaolo BorgonoviMonica BosaroAngelo BoscoloRenzo BragatoChiara BrescacinNicoletta BuffonWarren BunnMassimo BusettoRenzo BusettoGianluigi CalderoneFiammetta CalzavaraFrancisco CapeloCarlo CapovillaElena CardinChiara CarraroLeonardo CarrerFabio CarlesiElena CasadoroSilvia CasalinJohn CassaraFabrizio CattaruzzaEnrico CattellanEmma CavazziniMatteo CerianaRoberto CerianiAntonio CeschelGiancarlo ChimentoGiulia ChimentoRiccardo ChiriattiRenata CodelloAndrea CodoloMartin CohenSerena ConconeClaudia ConsolandiLaura CorazzolDamon CrainLisa CumbersFrancesco CuratoAldo De AlbertisPietro De AlbertisMartina De BortoliRoberto De GrandisValerio De PaolisLaura de SantillanaBarbara De ZorziRoberto De ZorziFranco DeboniAlessandro DegnoniValérie DegoumoisKentia and Patrick DespatureAngela Di GalanteAlessandro Diaz de SantillanaManuela Divari

Giacomo Andrea DoriaRoberto DulioAnnmari Ellila KnutsenHermas ErcoliSamuele FabbroGerard FigliolaLuigi FioreEnrico FioreseBarnaba FornasettiAnna FornezzaElena and Norman FosterRainald FranzFerruccio FranzoiaRenzo FugaFrancesca FungherSergio FusatoRoberta GabrielliRoberto GaleazziMarica GallinaPaul GallowayIsabelle Naef GalubaErica GalvanFilippo GambardellaRoberto GasparottoRoberta GiacoriAlex GiomoGiovanni GiuriatiMarisa GiuratiPaola GiuriatiSharon GoldreichFrancesco GorinLambert von GrasernGiorgio Grassi DamianiGuido Grassi DamianiSilvia Grassi DamianiSimone Guerriero Warren HammerschlagJames HarrisonMarc HeiremansOscar HumphriesRichard JeffriesAhmad KadouriKaisa KoivistoPier Daniele La RoccaPaola LamannaReto LardelliChristiane LeisterEva LemmerEnrico LepschyBrent LewisOliver LinkHoward LockwoodAnna LombardiFederico LosaUschi and Rainer LoschSerena LuceManfred LudewigSilvia Ludi-SokalskiMelchior LussiJon LutzThomas MatykLuisa MensiRobert MilbergFrancesco MillosevichSerena Corvi MoraTheodore MorgensternTobias MuellerEnnio MusiPierluigi NichettiFrancesca NisiiOrietta NovelliDavide NovelloJim OliveiraJean-Luc OliviéJoshua Padgett Gloria PasqualettoRossella Patrizio

Alexander PayneRoberta PesLuigi PescolderungStefano PiantiniSandra PintoAntonio PintusRuben PizzolittoPaola PlacentinoGuido PozziLuigi PruneriEmilio QuintèAskan QuittenbaumRita RagazziElvia RedaelliTomaso RedaelliGeorge RenandSofia RinaldiMarco RomanelliPierre RosenbergFranco SabatelliGiovanni SalmistrariSheri SandlerRosa SandrettoAndrea SartoriMonica ScalaMarzia ScalonSimona Scarchilli CocchiTobia ScarpaSusanne SchneeweissFred SchroederMarnix SchrooyenAnnabelle SelldorfPiero SerraAstrid SkjervenAnna Somers-CocksAnita SonegoNancy and Giorgio SpanuChiara SquarcinaValentina StellaCarolin StrawsonNico StringaElisa SturialeScarlet SweetmanChristoph Thun-HohensteinFrancesca TiengoFrancesco Toniatti GiacomettiMaurizio TorcellanAurora TotaroFilippo Trevisanello Spencer TsaiGiuliana TucciSabina TutoneMícheál Ua NunáinFrancesco ValvassoriMark Van WynsbergeStefano VaragnoloTeresa and Giorgio VeroneseAngela VetteseLella VignelliLuca VignelliHelen VincenziGiuseppe ViolaMaurizio Piovani VioMassimo Vitta ZelmanDedo von Kerssenbrock-KrosigkAnna WagnerAnnie WangVerena WasmuthUlrich W. WerwendtAllison WhitingKarol WightBeat WismerKarol and Richard WrightDevis ZanattaNicoletta ZanettiCesare Zanini

PAOLO VENINI, THE CREATOR

The ‘Stanze del Vetro’ project envisaged, from the beginning, an organic series of monographic exhi-bitions dedicated to the individual artists and architects who designed and planned for Venini. So, between 2012 and 2015, the following exhibitions succeeded each other: Carlo Scarpa. Venini 1932–1947, Napoleone Martinuzzi. Venini 1925–193, Tomaso Buzzi alla Venini, Fulvio Bianconi alla Venini.

In my introduction to the catalogue for the exhibition dedicated to Buzzi, I emphasized how a wide-rang-ing multi-year project like this offers — in addition to many other advantages — the invaluable op-portunity to learn from experience. Among the many things that we have learned from the history of Venetian glassmaking narrated so far, I mentioned the importance of the economic, industrial and cultural environment in which the artists who were the protagonists of these exhibitions operated. Such an awareness of the importance of context leads one to discuss the concept of ‘authorship’ — as I explicitly maintained in the introduction to the catalogue for the exhibition I Santillana — and not to underestimate the role of the commissioning client in the creative process: in this regard I recall the observation of Rosa Barovier Mentasti concerning the ability of Paolo Venini to filter and con-trol Bianconi’s ‘chaotic genius’, channelling the creativity of the designer towards the production of a coherent sequence of collections. These considerations show the inevitable limits of monographic exhibitions devoted to the products attributed exclusively to the designer. However, any other criteri-on which might be adopted to classify the immense and varied production of the Venini company (for example, a purely chronological criterion) would be hampered by other — and probably more serious — contraindications.

The exhibition described in this catalogue traces the fundamental role of Paolo Venini, the protagonist, director — but the most appropriate expression would seem to me to be, ‘the creator’ — of this envi-ronment of which we have become increasingly aware. From the point of view of the correct historical reconstruction of a fascinating story such as that of the Venini company, it is a methodologically im-peccable operation because it recounts (in a more transversal way when compared with the mono-graphic exhibitions presented in other years) a part of the story which had hitherto remained obscure and of which we had only glimpsed some sporadic flashes.

INTRODUCTIONPasquale Gagliardi

It would seem also important to note that this exhibition is not dedicated to Paolo Venini, the ‘designer’ — following, and on a par with Scarpa, Martinuzzi, Buzzi, Bianconi — but to Paolo Venini and his fur-nace, the symbol of the creature and the culture of which he was the creator. Venini had no skills in drawing, even though he devised many objects, but his principal merit lay in having invented ‘veninità’ (‘Venini-ness’) as a category of the mind, like a set of forms (ideas, thoughts, designs) and contents (material, craftsmanship, relationships) which unmistakeably mark not only the products but also the cultural identity of the firm, its image, its view of the world and its role in it. ‘Veninità’ as a category of the mind had its sense and value not only in the world of the producers and users of artistic glass, but for all of those who — in the first half of the 20th century — were interested and involved in the reas-sessment of the decorative arts and in the renewal of taste.

The essays in this catalogue, the works exhibited, the interviews and observations gathered by Gianluigi Calderone in the documentary which — following the now established tradition of ‘Le Stanze del Vetro’ — is shown continuously in one of the display rooms of the exhibition, accordingly describe the invention and the characteristics of ‘veninità’, the ability of Paolo Venini to shape a strong company culture with an extraordinary reserve of creative energy which enabled it to establish and maintain first-rate relationships internationally and — at the same time — to become perfectly integrated in the professional community of the ‘Rio dei Vetrai’, promoting its development and stimulating its am-bitions. In the name also of the Chairman and of the Steering Committee of the Fondazione Giorgio Cini, I wish to express our heartfelt gratitude to Marino Barovier — who has curated the exhibition with all his customary professionality — and to our partners in the Pentagram Stiftung for the unreserved com-mitment and enthusiasm they have shown, yet again.

Pasquale GagliardiSecretary General of theFondazione Giorgio Cini

CONTENTS

<Paolo Venini and the glass master Arturo Biasutto, a.k.a. Boboli, in Domus, 361, December 1959, p.46

17 Introduction Marino Barovier

21 Paolo Venini and ‘His’ Work in Glass Marino Barovier 39 Paolo Venini between Architects and Exhibitions Carla Sonego 55 Paolo Venini in the Rio dei Vetrai Rosa Barovier Mentasti 63 Paolo Venini Sets His Sights on the United States: 1951–1959 Howard J. Lockwood 71 Tyra Lundgren and Paolo Venini: A Successful Design Collaboration Marika Bogren 79 The Ceramic Inventions of Gio Ponti, at the Thin Edge of Irony among Hands, Bottles and Crinoline Valerio Terraroli

87 The Works Marino Barovier and Carla Sonego

91 Part I 93 Paolo Venini Diamante Zanfirici; Zanfirico reticello Opalini Pesanti “A dame” murrine Mezzaluna murrine A puntini murrine Transparent murrine Mosaico zanfirico Mosaico multicolore Diafani Incisi Bottles Compotes Obelisks Sandglasses Stained Glass

331 Part II 333 Tyra Lundgren Birds and Fish Leaves Snakes Vases

385 Gio Ponti Table Service and APEM Bottles Lighting

403 Piero Fornasetti Table Service

409 Eugène Berman Le rovine

419 Ken Scott Fish

431 Riccardo Licata Murrine

443 Charles Lin Tissot Submerged zanfirico Zanfirici

463 Massimo Vignelli Table Service Glass and Silver Venini/Christofle Lighting

483 Tobia Scarpa Battuti Occhi Cinesi Murrine Table Service

521 Grete Korsmo Jewellery

526 Venini Exhibitions 1932–1960 528 Bibliography

16 17

A protagonist of Murano glass in the 20th century, Paolo Venini (1895–1959) with his passionate ac-tivity spanning more than thirty years, made a decisive contribution to the vitality of the art of glass, achieving extraordinary results soon recognised also internationally.A native of Milan and a former partner in the Cappellin Venini firm, in 1925 he founded the V.S.M. Venini & C. glassworks with Napoleone Martinuzzi and Francesco Zecchin as partners, from whom he sepa-rated in 1932. Becoming president of the company, he worked untiringly as the director and manager of the Venini firm up to his death, which occurred in 1959.A cultured entrepreneur who was interested both in the artistic ferments of the time and in the de-mands of foreign markets, Paolo Venini was long-sighted in his management of production and drew on the services of excellent designers, in some cases, intervening himself in devising new pieces.Among the artists of greatest significance for the furnace were, in chronological order, the sculptor Napoleone Martinuzzi, the architects Tomaso Buzzi and Carlo Scarpa and the designer Fulvio Bian-coni, whose works have already been the subject of monographic volumes accompanying the corre-sponding exhibitions at the Stanze del Vetro.This work, on the other hand, is intended to document the production arising out of the specific choic-es of Paolo Venini which led, among other things, to series such as that of the Diamante pieces of the latter half of the 1930s. It was however in the 1950s that Venini dedicated himself consistently to the creation of his glass pieces, achieving notable success at exhibitions such as the Milan Triennale and the Venice Biennale, but also at events organised internationally, whether in Europe or in the United States, to support and disseminate Italian design and craftsmanship.A variety of glass pieces arose out of his refined, innovative reinterpretation of certain traditional Mu-rano techniques, such as that of the zanfirico, of which some variants were proposed particularly be-tween 1950 and 1954. Representative of these are the elegant Zanfirici (1950–51) together with the Zanfirico reticello (1954). The mosaic glass technique was used for the production of the series Mosa-ico zanfirico and the series Mosaico multicolore, both of 1954.From 1953 onwards, there was also a significant revival in the technique of the murrina, progressively leading to refined glass patterns (‘a dame’, mezzaluna, a puntini, etc.) executed with new chromatic combinations. In the latter half of the decade, under the influence of Nordic design, production tended towards delicate monochromes associated with engraving the surface in the cold shop, leading to the rich series of incisi (1956–57). Highly successful, in those years was also the multicoloured series of

Marino Barovier

<Paolo Venini intent on examining a lamp in zanfirico glass. Behind him and on the table can be seen a wide collection of Venini productions. Period photograph, 1950s, Venini Historical Archive, Murano

PREFACE

18 19

Venini furnace. Period photograph late 1950s-early 1960s, Venini Historical Archive, Murano

bottles. There was great appreciation for the original richly coloured stained-glass creations exhibited at the Triennale of 1957, which found their use in different architectural settings. While putting the extraordinary personality and the role of Paolo Venini at its centre, this volume also intends to illustrate the production of those who worked with him intermittently between the 1930s and 1950s, called upon by Venini himself or arriving independently because of their interest in glass and/or the quality of the work and the colours produced at the furnace.In the latter half of the 1930s, for example, Venini involved the Swedish ceramic artist Tyra Lundgren (1897–1979) in the life of the glasssworks, and she would be a kind of bridge with the Scandinavian countries with which Venini always had important relationships.The works of Paolo Venini’s friend, the architect Gio Ponti (1891–1979), belong to the post-War period. Between 1948 and the 1950s the designer, Piero Fornasetti (1913–1988), the painters, Eugène Berman (1899–1972) and Riccardo Licata (1929–2014), the Americans Ken Scott (1918–1989) and Charles Lin Tissot (1904–1994) spent periods at the glassworks. The young architects, Massimo Vignelli (1931–

2014) and Tobia Scarpa (1935 – ) established a relationship of collaboration which endured over time, unlike what happened with the Norwegian designer, Grete Korsmo (1917–2010), whose work, which had begun between 1957 and 1958, ended with the unexpected death of Paolo Venini.This work has been made possible because of the freedom accorded to us to consult and study the unpublished material from the Venini Historical Archive, Murano (period photographs, furnace draw-ings, etc.). We then carried out cross-comparisons with further sources (photographs, catalogues, period mag-azines, etc.) and the fundamental comparison with the pieces themselves, made available by muse-ums, public and private institutions and Italian and foreign collectors.

20 21

PAOLO VENINI AND ‘HIS’ WORK IN GLASS

Marino Barovier

Much of the history of Murano glass in the 20th century is linked to the name of Paolo Venini who, passionately and untiringly, devoted himself to the art of firing glass from the 1920s to 1959, the year of his death, contributing in a decisive way to its vitality even at the times of crisis experienced in the Inter-War period and at the end of World War II. [1]The scholar Astone Gasparetto, in his introduction to the exhibition Vetri di Murano 1860–1960 held in Verona in 1960, described him as being the greatest personality ‘in the last thirty years’, not ‘for the number of works, although these were very many, nor for exceptional novelties in techniques and forms but for the rediscovery and the re-enhancement, in the wake of Cappellin, of the spirit of our ancient glassmakers, his exemplary working method, his proud intransigence at the aesthetic level, the fame he managed to restore to the production of Murano all over the world’.1

The Swedish ceramic artist Tyra Lundgren, in 1940, described him as ‘an ideally balanced personality: an able industrialist, an energetic merchant and an avant-garde artist with infallible taste, an expert technician, a lover of the medium, highly sensitive to the noble purity of forms’.2

He came from a background quite foreign to that of Murano and with a decidedly unusual training for one who would later dedicate himself to glasswork. However if, at the outset, these factors would cre-ate difficulties for him, they would also enable him to have a view of things and a way of working which was ‘detached’ from local traditions, and all this would prove fruitful.Paolo Venini was born at Cusano Milanino (Milan) on 12 January 1895, to a bourgeois Lombard family (his father was a small landowner), in which ‘no one before had ever been involved in industrial art or glasswork. First’ — continued Tyra Lundgren — ‘he graduated in law, then he became involved with ancient art, he was an artillery officer in the Great War and was keenly interested in civil aviation’.3 After his return from the war, the young lawyer soon abandoned his legal career, having come into con-tact with the world of glass through the Venetian, Giacomo Cappellin (1887–1968) — the owner of an antiques and Murano-glass shop in Milan, in Via Montenapoleone — who involved him in the founding of a new glasswork company.On 5 November 1921, the company Vetri Soffiati Muranesi Cappellin Venini & C. was founded to man-age the furnace of the same name, with its headquarters in Murano, having as managers and partners the said Cappellin and Venini, together with Luigi Ceresa and Emilio Ochs.Venini himself noted: ‘The furnace was lit in October 1921. Managers: Cappellin and Venini, the former responsible for the commercial side, the latter the industrial, in addition to the shared preparatory

<[1] P. Venini at the exhibition Venini Murano, Orrefors Sweden: Glas at the Kestner Museum, Hanover, 1957, Venini Historical Archive, Murano

‘For years I have been indefatigable in drawing public attention to the Murano creations of Paolo Venini. In his glassworks, where the renewal of Murano glass first got underway, men, means and systems have changed in the course of only a few years, but something fundamental has re-mained the same: the personality of Paolo Venini, his taste, his imagina-tion, his equilibrium, with the consequence that his furnace has always remained the first in importance, the continual creator, eternally young. ‘El pregio xe nel manego’ [The quality is in the handle] one can confidently say when talking to Venetians, being certain of being understood’

(R. Papini, Vetri di Paolo Venini,in ‘Le Tre Venezie’, May 1934, p. 55)

22 23

[2-3] Vases and bowls V.S.M. Cappellin Venini & C., in Art et Décoration, March 1923

>[4] N. Martinuzzi, vases in pulegoso glass, 1928–30, at the exhibition Napoleone Martinuzzi Venini 1925–1931, Le Stanze del Vetro, Venice 2013

>[5] N. Martinuzzi, succulent plants in glass, 1928–30, at the exhibition Napoleone Martinuzzi Venini 1925–1931, Le Stanze del Vetro, Venice 2013

work’.4 Thus began the Murano experience of Venini, who until the spring of 1925 would work together with Cappellin, carrying out what Giulio Lorenzetti defined as ‘courageous modern reform’, thanks also to the collaboration of the painter, Vittorio Zecchin.Appointed to be artistic director of the furnace, Zecchin designed very light blown-glass pieces with elegant essential lines, mostly inspired by 16th-century examples, presented in the extraordinary hues obtained by the skilful master glassmaker Giovanni Seguso, called ‘Nane Patàre’. The production, which differed from that of their contemporaries so often characterised by late art nouveau decorations or pointless virtuoso effects, came into being following the indications of the two partners, Cappellin and Venini, who favoured sobriety and refinement, so responding to the demands of the haute bourgeoisie. [2-3]The Frenchman, Robert Linzler, distinguished between the two partners, saying ‘Cappellin is the in-spirer, the creator, the technician. Venini, with his sharp mind, wide culture, infallible knowledge of the men and things of his time, is the administrator, the man of action, in this association’.5 Fortified also by his previous activity and his familiarity with the world of Murano, the more mature Cappellin deter-mined the direction of the glassworks, being able to count on the assistance of his younger partner who, despite his lack of familiarity with the world of the Venice lagoon, became integrated and partic-ipated actively in the project. The pace of life was intense in those years at the V.S.M. Cappellin Venini, which was always present at the various decorative art exhibitions both in Italy and abroad (of particular importance was that of the Paris Expo in 1925), achieving great success and visibility also through a commercial network of shops in Italy (Venice, Milan and Rome) and of agents present in different European cities.Despite the success achieved, however, in the spring of 1925 differences between Cappellin and Venini led to the end of the partnership. On 14 May Giacomo Cappellin left the company to open his own firm, the Maestri Vetrai Muranesi Cappellin & C., still using the services of Vittorio Zecchin, Giovanni Seguso and the other master glassmakers.As for Paolo Venini, who still retained the shops and furnace, on 1st June 1925 he founded a new glass-work firm, having as partners two Murano men, the sculptor Napoleone Martinuzzi and the engineer Francesco Zecchin, as well as Ruggero Maroni, Alberto Francini and eight master glassmakers, among whom was the very young Arturo Biasutto, called Boboli, destined to become one of the most import-ant masters in the history of the glassworks.6

For commercial reasons, in continuity as far as possible with the firm founded in 1921, the company was called Vetri Soffiati Muranesi Venini & C., with the agreement that from January 1929 the company name would be further changed with addition of the names of Zecchin and Martinuzzi. However, this took place only partially through a subsequent amendment to the Articles of Association, specifying that outside Italy the name could remain the simplified one ‘Venini & C.’7 The management and admin-istration of the furnace were entrusted to Venini — who had a greater stake in the company than the others — and to Francesco Zecchin, while Napoleone Martinuzzi, then director of the Museo Vetrario of Murano, was the artistic director.8

The catalogue of V.S.M. Venini & C. offered some models already devised by Vittorio Zecchin for the Cappellin Venini firm, but especially and increasingly, up to 1931, the new glass pieces designed by Martinuzzi. He left a very definite personal mark on the production, often recognisable in the attention given to volume of the pieces and their clear consistency of the material, as for example in the ribbed glass pieces (1925–31), in the pulegosi pieces with their archaic forms (1928–30), [4] but also in the opacity of the solid shades of colour (1930–31). The catalogue was further enlarged with new and of-ten entirely original types of object, such as animals, fruit, aquaria and succulent plants, [5] produced also on a monumental scale, showing the versatility of the firm which, together with that of Cappellin, was recognised by the critics as one of the most important of the time.This was due also to the work of Paolo Venini who in those years, in accordance with his now es-tablished practice that would remain a constant throughout his career, devoted himself with great

24 25

>[6] T. Buzzi, Coppa delle mani and vases in cased glass with several layers of colour, 1932–33, at the exhibition Tomaso Buzzi alla Venini, Le Stanze del Vetro, Venice 2014

>[7] C. Scarpa, Red and black laccati, granulari, engraved and opaque murrine vases, 1940, at the exhibition Carlo Scarpa Venini 1932–1947, Le Stanze del Vetro, Venice 2012

passion to promoting the business of the glassworks through travel, participation in decorative art events (like the Biennali of Monza), contacts with critics and architects, especially with the ‘neo-clas-sicists’ of Milan, etc.In this respect, the relationship created with Gio Ponti was important: it was with him that in 1927 Venini together with others, joined in the Il Labirinto project, a company founded to realise and dis-seminate an elite production of ‘elements of modern furnishing’, a significant example of which was seen at the 3rd Monza Biennale in the same year. A convinced supporter of the decorative arts and of their necessary renewal, Ponti also constantly promoted the work of the V.S.M. Venini & C. in the pag-es of Domus, a magazine which he had founded in 1928 and which from that date would become, as it were, a privileged showcase for Murano’s production. Ponti himself, moreover, had recourse to the glassworks in the preparations for the Rotonda at the 16th Venice Biennale (1928) for the production of four large mirrors, in which it is reasonable to suppose a contribution by the architect Tomaso Buzzi, also a member of the Labirinto. It was to Buzzi that, some years later, Paolo Venini would turn to for artistic collaboration.9

On 28 January 1932 V.S.M. Venini & C. was put into liquidation because of excessive debt levels, very probably due to the dramatic economic crisis following the Wall Street crash of 1929, and the partners separated. Paolo Venini continued the business, on the same premises and with some thirty employ-ees, as Venini S.A., becoming chairman of the company and having in practice autonomy in the man-agement of the firm.10

Given the lack of an artistic director and the imminence of exhibitions such as the Venice Biennale in the Spring of 1932 and the Milan Triennale of 1933, which offered opportunities for recovering from the recession, Venini invited Tomaso Buzzi to Murano. The latter in those years had dedicated himself repeatedly to the applied arts, achieving a certain reputation for himself, particularly after the Trien-nale of Monza in 1930, with productions intended for the haute bourgeoisie. Despite the intermittent nature of his presence at the glassworks, and thanks also to the notable technical ability of the mas-ter glassmakers who supported him in his research, between 1932 and 1933 Buzzi designed several series of highly refined glass pieces. Notable among these were the precious cased-glass pieces with several layers of colour having an applied gold leaf with delicate hues in shades of pink, pink-red, green-yellow and grey-blue, called respectively Laguna, Tramonto, Alga and Alba. These pieces were characterised by their original forms, often inspired by ancient art, especially Etruscan, sometimes enriched by details in the shapes of animals, ribbons, collars etc., as could be seen at the Milan exhi-bition of 1933, where the famous Coppa delle mani was particularly admired. [6] In general, these were pieces intended for production in limited series, responding to a new ‘modern’ taste and again showing the high qualitative level of the furnace, even at an unfavourable time. Buzzi’s Murano work was limited to a short period, also because Paolo Venini had recourse more and more often to the Venetian architect Carlo Scarpa, who had begun to frequent the glassworks in 1932.11 Scarpa already had substantial experience in the glass world, having worked with Giacomo Cappellin’s M.V.M & C. from 1926 up to its bankruptcy in January 1932, due to the economic difficulties of the time and imprudent financial management.Because of his knowledge of glass as a material and his inexhaustible creativity, the architect became an ‘important’ associate for Venini, who with his work would characterise a great deal of the production of the furnace in the 1930s and ’40s, never compromising on quality, even with the approach of the war.Continuing to be active in the glassworks up to 1947, he had a privileged relationship with Venini based on mutual esteem, which would allow him to devote himself freely to experiments, revisiting tradition-al techniques (filigree and murrine), studying new means of making glass, using both processing under heat (‘sommersioni’, iridisation etc.) and decorations under cold (grinding, engravings, etc.).In this way many series of pieces came into being which, exhibited at the Venice Biennali and Milan Tri-ennali from 1932 to 1942, bore witness each time to the extraordinary capacity for innovation of the firm and of its principal designer, who favoured rigorous but elegant shapes, often geometrical and essential.

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[8] C. Scarpa, P. Venini, Murrine romane, 1936, at the exhibition Carlo Scarpa Venini 1932–1947, Le Stanze del Vetro, Venice 2012

[9] P. Venini, Diamante glass pieces, 1936, Venini Historical Archive, Murano

[10] T. Lundgren, glass pieces exhibited at the 21st Venice Biennale (1938), period photograph

[11] In the foreground Edgardo Valmarana (?) and Boboli (Arturo Biasutto) with a leaf produced after a design by Tyra Lundgren, c. 1938, Private archive

[12] Paolo Venini with a figurine after a design by Fulvio Bianconi, c. 1950, Venini Historical Archive, Murano

[13] F. Bianconi, figurines of the Commedia dell’Arte at the 24th Venice Biennale (1948), Venini Historical Archive, Murano

Exemplary from this point of view were, among others, the extremely light mezze filigrane (1934–36), the velati and the iridati of 1940, but also pieces in thick glass such as the sommersi a bollicine (1934–36) or the snow-white lattimi (1936) or the bicoloured laccati (1940) inspired by Chinese lacquer-work. [7] In designing new models, Scarpa repeatedly looked to oriental art, which he particularly appreci-ated and from which he borrowed, for example, various shapes destined to recur in the catalogue of the glassworks.The structuring of the work was decided on together with Paolo Venini, who sometimes took part to-gether with the architect in devising new productions, as in the case of the murrine romane presented to the public in 1936.Arising out of an idea of Venini’s, and inspired by ancient glasswork, they were developed and designed in detail by the architect who, as is documented by a series of drawings in his hand, proposed various models, some of which were never realised. [8] In a further development of the theme, Scarpa, in 1940, produced the extraordinary series of the murrine opache, destined to achieve wide-reaching success also in the post-War period.Paolo Venini, on the other hand, was responsible for the series of heavy glass pieces, Diamante (1934–36), [9] having a characteristic texture with crossed ribbing, obtained with the use of a complex tech-nique that made the surface of the vase particularly reactive to light. Proposed mostly in colourless transparent glass (cristallo diamante), these pieces were produced in exceptionally plastic shapes, often contorted and/or deformed or polylobed, where in some cases Scarpa participated as Venini’s designer and interpreter.‘It is almost incomprehensible how this man found the time for so much activity: the commercial or-ganisation led him to travel a lot,’ — remembered Tyra Lundgren in 1940 — ‘while he followed the work of the factory — an essential thing — with indefatigable assiduity. Every day there were new experiments with materials which would never be used, designs to be implemented, manufacturing issues to be solved, all of this often beset by problems and the working of contrary forces, obvious or otherwise, to be controlled and overcome’.12

Passionate about his work, during the 1930s Paolo Venini directed the glassworks ‘with a sense of reality, at one and the same time modern and patriarchal’,13 with the contribution also of his brother, Franco, a chemistry graduate, who worked on the composition of the colours but also took part in the commercial side.14

In the furnace he could count on a highly skilled workforce, some of them very young and open to ex-periments and trials, as for example the already mentioned Arturo Biasutto, called Boboli, a master glassmaker at 17 years of age, ‘his right-hand man and perhaps the best master in Murano’,15 [32] Ferdinando (Fei) Toso, like Boboli formerly a partner in V.S.M. Venini & C. who blew heavy pieces, and Edgardo Valmarana, who joined Venini at a later stage but quickly distinguished himself. Significantly, their names appeared, together with those of Venini and Scarpa, in the catalogues of the 6th Milan Triennale of 1936 and 22nd Venice Biennale of 1940.16

In general, however, Paolo Venini opted as a matter of policy to present the firm, of which he was chair-man, to the public only under the company name (Venini S.A.) or his own name, omitting those of the designers present in the furnace, using the name Venini as a brand to enable it to become, particularly abroad, synonymous with blown glass.One of the rare exceptions was that of the collaboration of Tyra Lundgren (1897–1979), the Swedish ceramic artist and freelance journalist who frequented the glassworks in the second half of the 1930s.Present at the Venice Biennale (1934) and Milan Triennale (1933, 1936) with some of her ceramics but also with some glass pieces for the Finnish firm Riihimäki, on the occasion of the Biennale exhibition of 1936 the artist, who represented a kind of bridge with the Scandinavian countries, was invited by Paolo Venini to try out her skills with Murano glass. The results were seen at the 21st Venice Biennale (1938) where, side-by-side with the pieces designed by Scarpa, were exhibited ‘animals and leaves after a design by Tyra Lundgren’.17

These were small birds and pigeons in iridised transparent glass, fish in submersed glass and leaves in glass with a lined texture, representing a small sample of the repertory of the items produced by the ceramicist at Venini’s, which comprised a certain number of winged creatures, fish and leaves pro-posed in numerous variants. [10]In testing her skills with a material which was new for her, such as Murano glass, the artist initially used models similar to those she had already executed in the ceramic field, especially birds and fish, finding different working solutions by employing materials then in use in the furnace, such as corro-so, iridised or submersed glass; later, having familiarised herself with the techniques, she developed more original ideas.Fundamental to this road she had set out upon was the understanding that she managed to establish with the master glassmakers, to whom she gratefully dedicated an impassioned article in a Swedish periodical in 1941.18 ‘I came here’ — the artist pointed out —‘with ideas still very far from the world of the glass furnace and often extremely difficult to transform organically into glass. To make a dove, for example, an infinite number of failed attempts were necessary’.19

For these tasks, in particular, she availed herself of the ‘passion’ of Biasutto, who ‘has, not only a phe-nomenal ability and inventiveness but also a rare talent for creating live animals. […] Our greatest suc-cess was when Boboletti succeeded, after long insistence on my part, in transforming the technique of filigree, which up to now had always been in the form of a spiral, into leaf veins, using a method we kept secret within the four walls of the furnace and which I hope has not leaked out. From this arose a series of different leaves, open to a greater or lesser extent. The biggest of these had to be assigned to Valmarana […] You need to be as strong as a giant to turn the leaf on the cane in the air’.20 [11]Various leaves, in filigree, in tessuto glass and in tartaruga glass were described in 1940 in a compre-hensive article in Domus dedicated to the Murano glass pieces of Tyra Lundgren, which came on to the Swedish market through Nordiska Kompaniet, the Stockholm department store that, particularly after the war, contributed to the dissemination of Venini products in the Scandinavian area. The association of the ceramic artist with Venini, suspended because of World War II, continued for a brief period around 1948, a year in which some of her vases with a Phoenician decoration and some snakes in pesante glass were exhibited at the re-opening of the Venice Biennale. After a break of six years due to the war, the exhibitions at the Padiglione Venezia recommenced, aimed at the relaunch-ing of the decorative arts in the Veneto region, and in particular Murano glass which, like many other production centres, found it difficult to recover in the post-War period.In 1946, for example, to overcome the difficulties of the moment, the Venini glassworks (from 1944 called Venini s.p.a.) launched a production line in light bulbs, side-by-side with artistic glass pieces, the production of which had been temporally reduced.21

Also in 1946 the designer Fulvio Bianconi, originally from Veneto but living in Milan, had come to the furnace to be responsible for the production of a new series of perfume bottles for the company Gi.vi.emme. With his passion for glass as a material, he was persuaded to become involved in the activity of the glassworks by Paolo Venini, with whom he would work continuously up to around the mid-1950s.22 Venini, who once again showed himself to be particularly able in choosing his associates, saw in him an ingenious and enthusiastic interpreter capable of infusing vitality and energy into the creations of the firm. [12]An ironic artist, Bianconi proposed for the Biennale of 1948 a series of twelve large figurines, inspired by the Commedia dell’arte, [13] which appeared beside the works of the Swedish ceramicist, and a small series of obelisks in glass arising out of an idea by Venini himself and destined to enjoy a certain commercial success in their many variants, then and in the following years.Bianconi’s stock characters ushered in a new productive phase soon to be enriched with numerous other figures, always marked by the playful spirit of their creator. Bianconi also devoted himself to the designing of new glass pieces, generally distinguished by their accentuated chromatic value, which would become the distinctive note of the Venini production in the 1950s. In his models, often of

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<[14] F. Bianconi, Vases with horizontal bands, 1950–51, at the exhibition Fulvio Bianconi alla Venini, Le Stanze del Vetro, Venice 2015

<[15] F. Bianconi, P. Venini, Fazzoletto vases, 1949–50, at the exhibition Fulvio Bianconi alla Venini, Le Stanze del Vetro, Venice 2015

[16] Paolo Venini in the technical office of the glassworks with the designer Gino Poli, c. 1952, Venini Historical Archive, Murano

[17] Vases and figurines in zanfirico glass at the 9th Milan Triennale (1951), period photograph

[18] G. Ponti, ‘Crinoline’ glass pieces for APEM, in Domus, 252–253, December 1950, p. 58

an irregular form, Bianconi particularly used vivid patterns obtained through the joining of coloured glass tesserae, as in the famous pezzati (1950–54), or the union of vertical bands (1950–51), but also through the application of horizontal or within bands enclosed within the wall of the piece (1950–56). [14] The famous fazzoletto (1949–50), on the other hand, was the result of direct engagement between him and Paolo Venini and was produced in several variants with regard to size, shape and the type of glass, becoming a sort of icon of the Murano glassworks at the time and contributing to the success of the firm. [15]Some fazzoletti were exhibited in 1951 at the 9th Milan Triennale, which had devoted an entire pavilion to Murano glass, where the Venini firm exhibited a significant number of works.Side-by-side with ‘historical’ pieces, such as Scarpa’s murrine opache of 1940, many objects produced by Bianconi were shown; others, however, such as the zanfirici, of which a considerable collection was exhibited, were due to Venini himself who, consistently in the course of the 1950s, intervened directly in the devising of new series, drawing on the services of his technical office. [16]As Astone Gasparetto once remembered: ‘Endowed with an exceptional aesthetic sense and acute crit-ical faculties which made him intransigent and severe, more with himself than with others, this singu-lar lawyer not only exercised a penetrating control over the smallest details of his production, but also himself suggested ideas or proposed new models to his associates, allowing the latter to implement them but always reserving to himself, and exclusively to himself, the right to make the final judgment’.23

In particular in the early 1950s he proposed a sophisticated body of work, revisiting various tech-niques of the Murano tradition, following a direction already pursued, if with varying results, by other glasswork firms, such as Barovier & Toso — which had exhibited murrine glass pieces at the Biennale of 1948 — or Aureliano Toso, which had participated in the Biennale of 1950 with polychrome vases by Dino Martens in zanfirico glass with extravagant forms.Cultured and particularly interested in the history of glass, Paolo Venini, for the pieces exhibited at the Triennale, had chosen the technique of filigrana a retortoli, [17] also called zanfirico from the name of the antique dealer, Antonio Sanquirico, who in the 19th century in Venice had commissioned many copies of ancient glass pieces produced using this technique. Known at Murano from the 16th cen-tury, it consisted in producing characteristic glass tessuti through the use of transparent canes with variously interwoven threads contained within them.Taking as models both ancient glass and that of the 19th century — with the help of a significant collection in the Glass Museum of Murano and a small photographic thematic collection present in the factory — Venini developed his master glassmakers with various types of canes (rete, settefili, ballottini, nastri) which over the 1950s were listed in a summary table, identified by the letters of the alphabet (see table). [21]For this series he used new models, particularly plates and bowls, but also had recourse to the exten-sive repertory of forms already present in the catalogue of the furnace, conceived by Scarpa in the two previous decades, according to a practice that became recurrent during those years.These models, all of an elegant and essential design, were proposed with patterns having a delicate polychromy but also in a monochrome version, especially zanfirico lattimo. Many of these could be seen at the Mostra storica del vetro muranese organised by the Venice Biennale in 1952, where dif-ferent pieces were shown with a combination, often adopted, consisting of the repetition of canes of Types A, N, A and I. Arranged in a large showcase together with the figurines of Bianconi’s Tiepoli, they particularly stood out among the Venini novelties, which included, in addition to other glass pieces by Bianconi, also the small series of pesanti pieces, in thick transparent glass, and the series of the opalini, with their sin-gular colours, which enjoyed a wide success.Among the ‘historical’ glass pieces, on the other hand, there was also a table service in glass with canes of six colours, designed by Gio Ponti in 1946, a witness to the short association be-tween the Milan architect and the glassworks in the post-War years. In this period he designed

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<[20] Elements of the sample collection of Vincenzo Moretti for the production of murrine glass pieces, 1881, from G. Sarpellon, Miniature di vetro, Venice 1990

[21] Summary table of the types of zanfirico used at the Venini glassworks in the 1950s, Venini Historical Archive, Murano

[22] Summary table of the types of murrine used at the Venini glassworks in the 1950s, Venini Historical Archive, Murano

[19] E. Berman, elements of the table centrepiece Rovine, c. 1951, period photograph

a number of table services — some of which were exhibited at the 8th Milan Triennale in 1947— a small series of bottles in coloured transparent glass gracefully decorated with crinoline, [18] produced by Venini for APEM (Artigianato Produzione Esportazione Milano) (Craftwork Produc-tion Export Milan) and also some lamps. To this was added a second series of bottles with dif-ferent glass tessuti which attracted much attention at the travelling American exhibition It-aly at work (1950–53) and which in subsequent years enjoyed a certain commercial success. A friend and associate of Ponti’s, the Milan painter and designer Pietro Fornasetti (1913–1988) also turned to Paolo Venini, towards the end of the 1940s, for the production of an unusual service of gob-lets, representing an ironic interpretation of wind instruments, such as the trumpet and the horn. The latter of these provided the occasion for a vase with a large circular handle, the model of which was included in the catalogue among those intended for the foreign, particularly the German, market. It should be noted in this respect that, particularly to satisfy the demands of that market, Paolo Veni-ni increased the production of ‘classical blown-glass pieces’, including in the catalogue new models drawn from the pictures of 16th-century painters (Paris Bordone, Titian, Caravaggio and Rubens) as had happened in the early years of the Cappellin Venini firm.Quite different was the classic style of Eugène Berman (1899–1972), a painter and scenographer of Russian origin who, as a great lover of Italy, visited it frequently in his many travels, drawing and in-terpreting in a very personal way landscapes and architecture from antiquity to the baroque. In Italy he made various contacts that led him to the Venini firm, where in 1951 he produced an original ta-ble centrepiece entitled Le rovine, made up of twelve pieces executed in colourless transparent glass with a strongly iridised finish, re-interpreting many of the themes present in his graphic and pictorial work. This series consisted of an unusual bicaudal siren with torches, four headless sirens portrayed in different positions, two curved obelisks and various vertical elements the forms of which evoked palm trees and the ‘metae’ (conical poles) of the Roman circuses. Very unusually, these models were included in the catalogue of the furnace but their production was limited. [19]The case was different for the series of glass fish — also the fruit of a sporadic association — designed by the American stylist Ken Scott (1918–1989), also in 1951.24 Executed for the New York department store, Macy’s, they are marked by unusual polychrome patterns obtained using the technique of cased glass and enriched by Phoenician decorations, applied threads, etc. Because of their particular char-acter, they were proposed again in the 1970s and enjoyed a wide success.As could be seen at the Biennale and Triennale of 1954, half way through the decade, the Venini pro-duction was characterised by the new experiments of Paolo Venini who, in a sort of confrontation of ideas with the other Murano glassworks, in particular Archimede Seguso and Aureliano Toso, again used zanfirico canes for the production of his pieces, as is evident in the series zanfirico reticello and mosaico zanfirico.In the first of these in particular, to obtain an elaborate diagonal pattern, he adopted the technique of the filigrana a reticello, replacing the filigranate canes, traditionally used in this technique, with a retortoli ones, generally monochrome.For the mosaico zanfirico series, on the other hand, the ancient technique of the vetro mosaico was used, which provided for the production of a glass pattern through the union under heat of canes or tesserae in accordance with a pre-established design. In this case, the elegant decorative motif is due to the segments of zanfirico lattimo of the a rete type which, arranged horizontally and vertically, stand out on a monochrome background (colourless, grey, blue or black), partly or entirely ‘covering’ the ob-ject. A rare variant was constituted by the mosaico zanfirico multicolore where recourse was made of polychrome canes of the a ballottini type. The technique of vetro mosaico was also used in the series mosaico a tessuto multicolore, characterised by the delicate polychromy of the pieces formed by a variegated composition of rectangular tesserae of different dimensions, in tessuto glass with fine coloured threads. Also exhibited in Venice and Milan in 1954, the pieces of this series are furthermore distinguished by their singular organic forms which,

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[25] Glass pieces with mezzaluna murrine at the 27th Venice Biennale (1954), period photograph

[26] Charles Lin Tissot and Paolo Venini, c. 1955, Venini Historical Archive, Murano

[27] P. Venini, engraved glass pieces, 1956–57, Venini Historical Archive, Murano

[23] P. Venini, Vases with ‘a dame’ (a scacchiera —chequered) murrine, 1953, Venini Historical Archive, Murano

[24] P. Venini, Vases with mezzaluna murrine, 1954, Venini Historical Archive, Murano

like those of the mosaico zanfirico glass pieces, seemed to have been borrowed from ceramic examples. Starting in 1953 and up to his death, Paolo Venini also turned his attention to murrine glass, in which, as we have pointed out, he had shown interest as early as the 1930s. In the design of new glass pieces he again looked to the 19th-century heritage of Murano, drawing motifs from it which, re-worked, enabled him to produce refined abstract patterns. Some of these motifs, such as the a scacchiera (chequered) or a puntini (‘dotted’) motif, can in fact be traced back to the sample collection of murrine compositions executed by Vincenzo Moretti in 1881, which may have been exhibited at the Venice Biennale of 1934.25 [20]The first examples were documented by the magazine Domus, which in December 1953 proposed among other ideas for Christmas presents the ‘new Venini murrine, in shades of yellow and green’ of the ‘a dame’ (a scacchiera) type. [23] For this series, forms already present in the catalogue of the furnace and somewhat contrasting chromatic combinations were chosen, in rare cases also with the use of the avventurina glass paste. In 1954, also in Milan and Venice, the vases with mezzaluna (‘half-moon’) murrine, [24] of considerable graphic impact and original design, were exhibited. [25]Other variations on this theme were later presented at the Triennale of 1957, where some bicoloured plates were exhibited, variously modelled and executed with semi-transparent a puntini murrine, of an evocative elegance, and also with transparent and semi-opaque murrine of the so-called S type, with a core of various shapes. As was the case for the zanfirico canes, the different types of murrine were also classified with letters of the alphabet in a table giving the twenty-five types used by the glassworks (see table). [22]Among the various models, some ten were designed by the young painter, Riccardo Licata (1929–2014) who, having come into contact with the glass and mosaic of Murano by frequenting various furnaces in the early 1950s, worked with Venini for a brief period between 1953 and 1954, devoting himself to the study of murrine.He transferred to them the fruits of his artistic research, which was oriented towards the abstract and consisted of ‘scripts’ and ‘signs’, which in this context took on a new material consistency. Thus, for example, murrine such as those of the spugna, pettine, trifoglio, quadrato and ruota, having been com-bined variously, produced new and highly coloured glass patterns, to embellish, among other things, the ad incalmo vases exhibited at the Biennale of 1956. Half-way through the decade, the American designer Charles Lin Tissot (1904–94) also frequented the furnace, and having familiarised himself with the zanfirico technique, adopted it in 1955 for a series of delicate products using various types of canes, such as I, Q and T, but especially M with its character-istic honeycomb motif repeated vertically. The zanfirico was also used by Tissot for a series of pieces having a thick base of colourless glass containing a retortoli canes with a spiral shape. [26]This series, however, was quite untypical with respect to contemporary Venini production, better rep-resented by the glass pieces to be seen at the Biennale of 1956, where Paolo Venini exhibited, among other things, fifteen ‘different bottles, in filigree, with canes, with bands and with stripes of various colours’26 which in some cases revisited models by Gio Ponti of the late 1940s.Equally in evidence was the collection of incisi glass pieces which constituted a true novelty destined to enjoy a significant success, also internationally, at the various foreign exhibitions that followed each other in those years. [27]In a period in which Scandinavian design had become particularly prominent, also through the Trien-nali of 1951 and 1954, Paolo Venini, a connoisseur of this world because of his commercial contacts among other things, proposed new pieces in heavy glass finished with closely worked surface, which were very well suited to the fashion of the time. For this series, counting some fifty models with essen-tial lines, the ‘lawyer’ chose delicate but definite colours obtained by layering various strata of trans-parent coloured glass, to which he gave original and evocative names (erba, acqua, bronzo, notte etc.).Among the works exhibited at the Biennale of 1956 were also some lamps which, ‘in consideration of the profound change which had taken place in production based on the applied arts’, the selection

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[28] M. Vignelli, Lamp no.4040, 1954–55, Venini Historical Archive, Murano

[29] Cover of Domus, August 1957, with a detail of a stained-glass piece in mosaic glass

[30] T. Scarpa, Occhi vases exhibited at the 12th Milan Triennale (1960). Period photograph

>[31] Large polyhedron chandelier and stained-glass piece in the Congress Room of the Italian Pavilion at the Universal Exhibition of Brussels (1958). Period photograph

committee, in an unusual decision, agreed to accept.27 This was a small series designed by the young Massimo Vignelli (1931–2014) who in 1953 was called upon by Venini to devote himself to lighting. During his Murano experience, which continued up to approximately 1957, the architect designed a great number of lamps for serial production, drawing inspiration from Nordic design, which he rein-terpreted through the prism of the techniques and colours of Murano. Abundantly documented by the magazine Domus, these pieces were often produced in opalino glass, sometimes combined with bands of colour but also in tessuto glass with fine bichrome canes. Prominent among these were, in particular, the suspension lamp, no. 4039, and the table lamp, no. 4040, in opalino, known as Zaffiro, both prize-winners in 1956 at the third Compasso d’Oro competition. [28]For Venini, Vignelli designed, among other things, an elegant table service in spicchi glass (1957) and a series of household objects, in glass and silver which, produced in association with Christofle, would start actual production in 1963. On the occasion of the 11th Triennale in 1957, he also planned two original chandeliers ‘consisting of fifty-four tubes of coloured glass arranged in a spiral’ with the source of light at their extremities.28 In a skilful play of colours, a chandelier was positioned opposite one of the extraordinary polychrome stained glass pieces that Paolo Venini had begun to produce during those years.This new production series made it to the cover page of Domus (August 1957), which illustrated its variety in an article where it was reported also that ‘the idea came to Venini during a journey when examining the structure of some ancient walls on the island of Delos […] and the pattern of the bark of certain palm trees”. 29 [29] These panels were characterised by unusual patterns, some produced with ‘elements of mosaic glass’, others ‘with single-coloured or a pennellate glass elements’ mounted on metal frameworks. The creation of the stained glass entailed the involvement of different architects, such as Oscar Storonov, the B.B.P.R. architectural partnership of Milan, Franco Albini etc. who used them as valuable decorative elements to be included in both domestic and prestige environments. Typical of these were the stained glass panels produced for the congress room of the Italian pavilion at the International Universal Exhibition of Brussels in 1958, at the centre of which was hung an im-posing chandelier (diameter 4.60 m and height 2.70 m) formed by a cascade of bicoloured transparent glass prisms, representing the first example of large lighting fixtures with sectional, mould-blown elements, totally new for Murano and destined shortly for great success. [31] Paolo Venini’s interest in this environment was thus confirmed and particularly in the potential of modular solutions, as he had already demonstrated during the 1930s and ’40s with the patenting of listel glass and corded glass, which formed a basis for the numerous lighting models of that period and which were crucial for the survival of the firm during the recession. The young architect Tobia Scarpa (born 1935), who was called on to replace Vignelli when the latter left for the United States (1957) and who was associated with the furnace also after the death of Paolo Veni-ni and up to about 1962, played a part in resolving the technical problems regarding prism chandeliers. He participated actively in the life of the glassworks, with particular enthusiasm for execution tech-niques and research on materials, with which he produced new types of glass pieces. Among these is the occhi (‘eyes’) series, representing an attempt to interpret the murrine glass created by his father, Carlo, before the war. [30]Produced in forms tending toward the geometric, they are characterised by the use of special mur-rine with a core in colourless transparent glass and a border in coloured glass or in brightly coloured glass paste. Because of the differing cooling times for these two components, the occhi (‘eyes’) jut out slightly, so standing out somewhat from within the network representing the wall of the piece.The series was presented in 1960 on the occasion of the memorial exhibition that the Triennale ded-icated to Paolo Venini after his death and where a small group of thick battuti glass pieces was also shown, the result of certain experiments conducted by Tobia Scarpa who had devised an unusual way of making the vases. This provided for the shaping of the object using molten glass which, after it had been placed on a mould, was drawn downwards using suitable pliers. The piece, once it had

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1 A. Gasparetto, La rinascita di Murano, in A. Gasparetto (ed.), Vetri di Murano 1860–1960, Verona1960, p. 27.

2 T. Lundgren, Paolo Venini i Murano in Form, February 1940, p. 29. Italian translation of the article sent by the author to the master glassmaker Arturo Biasutto in 1942.

3 Ibid. Cf. also A. Venini, La famiglia Venini, in A. Bettagno (ed.), Gli artisti di Venini, Milan 1995, pp. 47–48.

4 Letter from Paolo Venini to Roberto Papini, 1923, in C. Sonego, La Vetri Soffiati Muranesi Cappellin Venini & C. Antefatti e sviluppi tra arte e architettura in M. Barovier (ed.), Napoleone Martinuzzi Venini 1925–1931, Milan 2013, pp. 33–34.

5 ‘I vetri soffiati muranesi di Cappellin e Venini’, in Arte pura e deco-rativa, 5, 1923, p. 14.

6 Cf. M. Barovier, Dalla scultura al vetro tra tradizione e innovazione, in M. Barovier (ed.), Napoleone Martinuzzi…, op. cit., pp. 20–21. Of the eight master glassmakers, Arturo Biasutto, Luigi Voltolina and Narciso Campanella were juniors.

7 Archives of the Chamber of Commerce, Venice, Register of Firms (hereinafter referred to as ACCVeR), Firm 9301, Vetri Soffiati Mu-ranesi Venini & C. In the Articles of Association of the company of 1st June 1925, it was specified that after 31 December 1928, ‘the company name may become “Vetri Soffiati Muranesi Venini, Zec-chin Martinuzzi e C.”’. Subsequently the amendment to the Articles approved on 3 February 1929 changed the company name to ‘Vetri Soffiati Muranesi Venini & C. di Venini, Martinuzzi, Zecchin & C.’, a name which only had to appear in the registration of the company abroad and in the correspondence and commercial invoices from the head office, while on all other occasions the original name without the ‘subtitles’ (‘di Venini, Martinuzzi, Zecchin & C.’) was maintained.

8 About Napoleone Martinuzzi and Venini, see in particular M. Barovier (ed.), Napoleone Martinuzzi…, op. cit.

9 About Tomaso Buzzi and Venini, see in particular M. Barovier, C. Sonego (ed.), Tomaso Buzzi alla Venini, Milan 2014.

10 ACCVeR, Firm 23722, Venini S.A. Venini S.A. had been estab-lished on 14 April 1926 as a company for ‘trade in glass and ceramic pieces and the decorative arts in general’ with shops in Venice, Mi-lan, Florence and Rome. On 29 March 1932 the company consisted of six shareholders, among whom Paolo Venini with 80/900 shares and the Ochs spouses with 100/900, while the major shareholder, presumably an investor contributing capital (finance company?), was the firm Becker&Feher (in liquidation) with 565/900.

11 About Carlo Scarpa at Venini, see in particular M. Barovier (ed.), Carlo Scarpa Venini 1932–1947, Milan 2012.

12 T. Lundgren, Paolo Venini…, op. cit.

13 Ibid.

14 Around the mid-1930s up to 1948, the year of his death, Franco Venini was also a partner of Venini S.A., with the function of director from 1938, cf. ACCVeR, Firm 23722…, op. cit.

15 T. Lundgren, Paolo Venini…, op. cit.

16 Guida alla VI Triennale, Milan 1936, pp. 142 and 22. Esposizione biennale internazionale d’arte, 1940. Catalogo, Venice 1940, p. 226. In the catalogue of the Triennale, the master glassmakers Raffaele Ferro and Narciso Campanella were also mentioned.

17 21. Biennale internazionale d’arte, 1938. Catalogo, Venice 1938, p. 211

18 T. Lundgren, Mina venetianska glasblåsare (I miei soffiatori vene-ziani) in Svenska Dagbladet, 28/12 1941. Italian translation of the article sent by the author to the master glassmaker Arturo Biasutto in 1942.

19 Ibid.

20 Ibid.

21 ACCVeR, Form 23722…, op. cit. In 1944 the amendments to the Articles were made to comply with legal provisions. On 27 April 1944 the company consisted of four shareholders (Paolo and Fran-co Venini, Anna Maria Borletti and Alberto Francini). Paolo Venini held the majority of shares with 595/1000. In 1948 following the death of Franco Venini, another partner joined the company.

22 About Fulvio Bianconi at Venini, see in particular M. Barovier, C. Sonego (ed.), Fulvio Bianconi alla Venini, Milan 2015.

23 A. Gasparetto, Ricordo di Venini, in Ateneo Veneto, vol. 144, n. 1, 1960, p. 72.

24 About the American designers, such as Ken Scott and Charles Lin Tissot, who worked with Paolo Venini, see the article by Howard Lockwood in the present volume.

25 See the article by Rosa Barovier Mentasti in the present volume. About the sample collection of Vincenzo Moretti, cf. G. Sarpellon, Miniature di vetro. Murrine 1838–1924, Venice 1990, pp. 112–118.

26 28. Biennale di Venezia, Venice 1956, p. 558.

27 Ibid., p. 548.

28 A. Pica (ed.), Undicesima Triennale, Milan 1957, p. 73.

29 ‘Venini, vetrate’, in Domus, 323, August 1957, p. 47.

30 A. Gasparetto, Ricordo di Venini…, op. cit., p. 73.[32] Boboli (Arturo Biasutto) with his son and Paolo Venini in the Rio dei Vetrai in Murano, 1950s, private archive

cooled, was finished with the grindstone to obtain the characteristic irregularly satin-finished surface. Produced in delicate colours, the battuti pieces, the shapes of which show traces of Nordic influences, were subsequently developed by Ludovico de Santillana who, after the death of Paolo Venini, took over the role of artistic director of the furnace. They achieved considerable success, which probably later led to a simplification of the production technique and wider distribution.The case was different, however, for a small series of jewels in glass and silver originating between 1958 and 1959 from the collaboration of the Norwegian designer Grete Korsmo (1917–2010) with Paolo Venini and destined for a limited production, also because of the death of Venini. As chance would have it, the valuable necklaces with pendants and murrine glass elements were documented in an article in Domus (October 1959) alongside another one giving the sad news of Venini’s unexpected death.It was the end of an era which had been full of enthusiasms, difficulties, associations, commercial re-lations and experiments which had found in Paolo Venini an extraordinary and intelligent interpreter. There had not been ‘a Venini style’, asserted Astone Gasparetto in remembering him, there was “in-stead, as though drawn essentially under that name, a Venini line, one of total constant probity and artistic validity entirely consisting of exceptional pieces”. 30

38 39

PAOLO VENINI BETWEEN ARCHITECTS AND EXHIBITIONSCarla Sonego

Among the various commemorations of Paolo Venini which followed his death in 1959, the abituary of Gio Ponti, published in the December issue of Domus of the same year, tells of a close friendship and shared journey and traces in a passionate way the outstanding aspects of a professional and human story which had so profoundly influenced the world of Murano glass.1 [2-3]It was a long article of sixteen pages, with six plates, illustrating ‘that production which, in addition to the significance deriving from its technical value and expression of taste of the highest kind, […] has further meanings still for us. It was with it that Paolo Venini constantly supported all of us architects in our work and principally with this magazine and with the Triennali, in this prodigious modern resur-rection of the applied arts in Italy which, in all fields, but most extraordinarily in Murano, accompanied the affirmation of Italian modern architecture, today recognised throughout the world.’In his work Venini looked continuously to the cultural context of his native Milan, forging relationships and establishing links particularly with the world of architecture revolving around the Lombard capi-tal, which, from the beginning of the 1920s, but particularly from 1923 with the start of the Biennali of Monza, became the focal point of the debate on the decorative arts.Because of a kind of elective affinity existing between them, Venini with time established a privileged relationship with Ponti, one of the leading spirits in this debate, whom he got to know presumably in 1923 on the occasion of the aforesaid Biennale, sharing with him, in 1925, his enthusiasm for the Exposition internationale des Arts décoratifs et industriels modernes of Paris.At that exhibition Venini took part as a partner in V.S.M. Cappellin Venini & C. (soon to become V.S.M. Venini & C. when Cappellin left the company) which was the only glassworks, together with the en-graved glass pieces of Anna Akerdal and Guido Balsamo Stella produced by Ferro Toso, to represent the production of Murano.2 ‘We, who have Murano, were not even able to organise a single full room devoted to our glasswork’,3 complained Ugo Ojetti with great vexation in the pages of the Corriere della Sera, highlighting the back-wardness and difficulties besetting Italy, and in particular Venice, in committing itself to participation in exhibitions abroad and finding its place in the international panorama.This theme was also taken up by the art historian, Giulio Lorenzetti, who, as an art glass expert, to-gether with the chemist/glassmaker, Arnaldo Mauri, had been called upon to deal with this topic in the volume published at the conclusion of the Paris exhibition, giving an account of the Italian presence.4

More generally, Lorenzetti analysed and compared various European productions, defining their

<[1] Paolo Venini, period photograph 1957–58, Venini Historical Archive, Murano. Behind him, among other things, can be seen the prizes won at the 5th and 9th Triennali of Milan and the programmes of various international exhibitions

40 41

[2] Venini in Domus, 361, December 1959, p. 31

> [3] G. Ponti, Venini in Domus, 361, December 1959, plate

42 43

[6-7] Glass pieces exhibited at the artistic glass exhibition in Berlin in 1928 in Deutsche Kunst, January 1929, pp. 284–285

[4] Il Labirinto, advertising page in Domus, 2, February 1928, p. 4

[5] Vetri Soffiati Muranesi Venini & C., advertising page in Catalogo ufficiale della III Mostra Internazionale delle Arti Decorative, Milan 1927, p. III

characteristics and differences, their execution methods, the roles of the designers and the facilities for technical training (completely lacking in Italy) etc.He also drew attention to the importance of the participation of the ‘ex-Cappellin Venini glassworks’, the products of which, deserving of the Grand Prix they had won, were held up as excellent examples, both from the formal point of view and from that of the material used, and he hoped for further ‘improve-ments’ in this direction with a view also to limiting the defects innate in sodium-based Murano glass.5

In this regard Lorenzetti indicated also that ‘in accordance with information received from Prof. Mauri, the new Vetreria Venini & C. [founded in June 1925, following the withdrawal of Cappellin] has start-ed to use glass with a chemical composition closer to that of Swedish and English glass […] and has produced glass pieces in which the chemical characteristics of the material have been qualitatively improved without in any way interfering with the old working system.’6

Ponti, present in Paris in the double role of Richard Ginori designer and reviewer of the ceramic pieces exhibited, also contributed to this volume and, in what was almost a policy document, underlined the as-pects of production which an exhibition of the decorative arts must promote: ‘representational sinceri-ty; technical excellence; characterisation of the product; adherence, regarding its market ability and its concept, to the intended purpose, and regarding its artistic expression, to the character of our culture.”7

These aspects would seem to be those characterizing the glasswork of V.S.M. Venini & C. and in 1927 they would also become the expression of a project shared with Ponti — together with other 20th-cen-tury architects, the stained-glass artist Pietro Chiesa and Carla Visconti of Modrone — for the produc-tion of luxury ‘modern Italian art pieces and furniture’. The initiative took concrete form in the Il Labir-into group, the launching of which at the 3rd Biennale of Monza was recalled with great emphasis by Ponti in his commemorative article on Venini.8

Venini participated in the enterprise with transparent blown-glass pieces designed by the then artis-tic director of the glassworks, Napoleone Martinuzzi, in a classical style, as might be expected, har-monising well with the furniture in root wood, grey maple etc. designed by Gio Ponti, Tomaso Buzzi, Emilio Lancia and Michele Marelli.Paolo Venini also invested considerably in this ‘artistic association’, the company name of which, not announced at the Monza exhibition for obvious reasons of expediency, was until the Spring of 1928 — as can be learned from the correspondence between Ponti and Buzzi — Venini Arredamenti, later to be changed to Labirinto S.A.: he had a large number of shares in the company and held the position of Chairman, with Ponti in the role of Managing Director.9

Venini was also entrusted with the organisation of the commercial side through his agents and the Milan shop in via Montenapoleone, which at the same time featured, in a community of artistic and economic interests, the majolica products of Ginori designed by Ponti.10 [4]As is documented by the V.S.M. Venini & C. advertising insertion included in the catalogue of the Monza exhibition of 1927 — at which the glasswork company was present also in an individual capacity — at that date the company had a significant distribution network available to it, with six sales points in Italy (Venice, Florence, Genoa, Milan, Turin and Rome) and as many abroad (Amsterdam, Berlin, Paris, Brussels, London and New York).11[5]While half of these could be considered as a sort of inheritance from the partnership with Giacomo Cappellin, the others were the result of Venini’s notable entrepreneurial spirit and who, in the three following years, further extended his agencies, in particular abroad.12

Paolo Venini’s activity within the Labirinto can also be connected to a certain extent with his active collaboration with Antonio Maraini, then secretary-general of the Venice Biennale who, in late 1928, had turned to him to organise a decorative art section at the Italian 20th-century exhibition at Nice the following spring. On 10th January 1929 Venini wrote: ‘I have almost finalised everything for Nice, subject to your approv-al’ and, appending a plan of the provisional layout, cited also ‘my two Marelli showcases one contain-ing my glass pieces and the other those of Balsamo Stella together with the works of Ravasco. I am

writing only now to Stella and if he shouldn’t have anything available we could do the showcase only with Ravasco [...] I have our agreement, that of Gio [Ponti], Diana, Martini, Ravasco and Mazzuccottel-li... I am waiting for replies from others. […] If Pulitzer were not to make the table, Ponti would make it or somebody else from the Labirinto’.13

Apart from his organisational abilities Venini’s involvement grew out of the familiarity he had estab-lished with many artists during those years, due partly to his frequent attendance at exhibitions of the decorative arts.14

It should be noted, incidentally, that with Balsamo Stella he had also had work contacts in 1926 with a view to a possible association and the production of ‘Venini glass pieces – engraved in the Balsamo studio’, which however did not come to pass15. An admirer of his work, however, in subsequent years he did not fail to support him, especially on the occasion of the international exhibitions in which the glassworks participated.16

The Milan critic, Ugo Ojetti — who, as a sizeable correspondence witnesses, also became a reference figure for Venini to whom he often turned as a mentor — maintained that Venini promoted the glass-works outside the confines of the state not only through his agencies.17

From 1926 he was present at various events abroad, especially those in the German-speaking area, often making direct contacts and taking care of organisational questions, making up as best he could for the lack of any Italian policy with respect to international exhibitions. He frequently complained about this when talking to Ojetti, showing that he had understood the importance of such events both for commercial reasons and as a necessary and useful occasion for comparison and modernisation.18 In this light it does not seem fortuitous, for example, that in the mid-1930s Venini presented a series of glass pieces such as the Diamante, the glass material of which, not seen before in Murano, is charac-terised by a surface with ‘bulges’ similar to that with lozenges typical of certain German and Austrian engraved crystal pieces which he had appreciated in his travels and at exhibitions outside Italy. [6-7]‘In general’, Ponti also recalled in 1959, ‘there was not a Biennale [of Monza] nor later a Triennale [of Milan], nor an Italian event abroad which failed to find a contribution, always prompt, always fervent, always creative and impeccable from Paolo Venini’. [1]Nationally, apart from his constant participation at the Venice Biennali — which, with the support of the Istituto Veneto per il Lavoro, from 1932 had devoted a specific pavilion to the decorative arts — he was constantly present at Monza, and then at Milan, always with a renewed and diversified produc-tion — thanks also to the contribution of the designers who worked with the furnace — and he in-vested exceptional resources and energy with ‘his courageous tenacity’, even in the times of crisis of the early 1930s (5th Triennale, 1933), during World War II (7th Triennale, 1940) and in the immediate post-War period.19 Of this, as is well known, a regular, scheduled account was given by the review Domus, founded in Jan-uary 1928, with the support of Ugo Ojetti, by Gio Ponti, who the previous year had joined the artistic board of the Monza event. In the very first issue, Ponti devoted an article to the ‘Filigrane di Murano: un’arte che riappare in forme nuove’, describing the ‘more recent’ and modern Murano productions of the V.S.M. Venini e C., together with those of the M.V.M. Cappellin e C., and indirectly indicating them as exempla of those ‘furnishings and noble art works’ which should find homes in Italian-style houses.20 Of these furnaces, in the December issue of same year, 1928, he underlined the ‘felicitous creative vivacity [...] which, fed by ingenious and powerful rivalries, supported by an untiring passion and full of impulses and initiatives, is transforming [...] that which might have been only a passing fashion (and which for minors is an exploitative industry) into master-craftsmanship and into a fascinating, truly artistic phenomenon, full of surprises, emotions and audacity, striving for technical perfection and new developments which transcend industrial activity and constitute [...] an artistic fact, a ‘time’ in the history of the art of glassmaking.’21

With a view to the 4th Triennale of Monza of March 1930, also in his role as member of the Board of Directors, Ponti presented the event in the pages of the magazine, reporting that in the new section

44 45

[10] Ceiling of the Novum shop with Venini lamps and ‘ornamental elements after a design by Gio Ponti’, in Domus, March 1934, p. 25

[11] Restaurant in the palace of the Milan Stock Exchange, architect P. Mezzanotte, 1932. Venini lamps in glass with semi-frosted canes ‘streaked in amethyst red’ with Richard Ginori ceramic coating after a design by Gio Ponti. Period photograph, Venini Historical Archive, Murano

[12] Mussolini Stadium of Turin, architect R. Fagnoni, engineers E. Bianchini, D. Ortensi, 1932–33. Entrance gate to the terraces with a Venini luminous architrave. Period photograph, Venini Historical Archive, Murano

[8] ‘Lighting appliances for tubular lamps, produced by Venini, after a design by the architect Luigi Piccinato’, in Domus, 24, December 1929, pp. 43

[9] Venini lamps at the 5th Milan Triennale, in Domus, July 1933, pp. 380

dedicated to lighting there would also be the participation of ‘Venini, producer of the highly modern equipment items designed by Luigi Piccinato and Michele Marelli and the Murano pieces created by Napoleone Martinuzzi’. Produced in opalino glass, with a metal mounting and with the recent ‘tubular lamps’, the first items differed clearly from contemporary Murano production in this area. They were characterised by their ‘modern rational style’,23 fruit of the collaboration between the two architects — both of whom contrib-utors to Domus — and Paolo Venini, who produced their works in an autonomous way through Venini S.A., ‘his own’ marketing company, and not through V.S.M. Venini & C.24 [8] The fact shows the great attention and open-mindedness of Venini in responding to the requirements of the designer world of which, again and again, he succeeded in being the interpreter.A significant example of this was seen on the occasion of the famous Triennale of 1933 where the Ve-nini organisation, present in the shape of a different company following the liquidation of V.S.M. Venini & C., exhibited a wide range of lamps side by side with the new glass pieces after a design by Tomaso Buzzi, winning the Grand Prix.These items were on show not only in the Galleria dei Cristalli, dei Metalli e dell’Illuminazione, but also in other sections of the exhibition, such as the foyer, the salone delle cerimonie, the mostra degli ambi-enti moderni and the mostra dell’abitazione.25 While this shows the appreciation of the creators of the installations for the quality offered by the glassworks, it is also the consequence of a promotional and image operation promoted by the firm itself. With a view to the upcoming event, in fact, the Venini firm had sent a circular to the architects involved, in which it offered its availability: ‘We are entirely at your disposal in our production for anything you may need for the Triennale: whether simply for the execu-tion of the models designed by you or for working with you in designing these models or submitting to you our own designs following the indications supplied to us.’26

The wide-reaching success of the works exhibited by Venini is corroborated in many articles, as for example that of Roberto Pacini appearing in Architettura and that of the ever-present Gio Ponti in Domus, who noted how Venini had ‘developed lighting in accordance with extremely interesting criteria with which we fully agree. An interesting and by no means simple problem’.27

Such appliances — some of which due to the contributions of Tomaso Buzzi and Carlo Scarpa — rep-resented ‘the victory of the work of art, and the luxury chandelier, of art and effect. The great luminous and brilliant ceiling light […] of the foyer of the Triennale has a stupendous effect, it is silver and thrill-ing and is a pleasure to look at whether lit or not. […] Heaven help a chandelier that, when not lit, is like something dead or dull, without form or substance of any interest.’28 [9]The ‘ceiling light’, a luminous structure on the ceiling (2 x 24 metres) was in corrugated glass and here received its official consecration.The fruit of research work on pieces of equipment with modular elements which had led to a patent registered by the firm as early as 1931, this lighting system had shown itself to be quite ‘versatile’ and suitable for use on both a small and a large scale - from private dwellings to public buildings and rail-way stations – soon becoming a subject of interest for various architects such as Angiolo Mazzoni and Marcello Piacentini, but also Ponti.29 The last used it in particular for the lighting of the Novum shop of the Croff company in Milan, executed together with Michele Marelli in 1934.30 [10]The new Venini production phase was not limited to corrugated glass but also included equipment pieces with semi-frosted canes and, later, ribbed glass (Patents1934 and 1935). These products not only provided the designers with a vast repertory of technical lighting solutions that, being of the qual-ity they were, lent themselves well to the language of contemporary architecture, but also proved de-cisive in the history and industrial strategies of the firm and guaranteed its survival in this period of acute economic recession, as is documented by the minutes of the board meeting of Venini S.A. of 29 March 1932.31 [11-12]In his commemoration of Venini, Gio Ponti also recalled the association that Venini had re-established with the architects in the post-War period and during the 1950s, mentioning in particular: ‘among the

46 47[16] Paolo Venini portrayed with lamps designed by Franco Albini, in Domus, 359, October 1959, p. 34

[13] Venini exhibition in the department store, Nordiska Kompaniet, Stockholm, 1953. Period photograph, Venini Historical Archive, Murano

[14-15] Venini exhibition Gläser aus Murano, Baden-Baden, 1957. Period photograph, Venini Historical Archive, Murano

later outstanding operations, his contribution, with the huge lamps, to the Olivetti shop of New York, the admirable work of Belgiojoso, Peressutti, Rogers, which redound to their honour and to that of Italy, and the name of Olivetti — and his contribution, with the stained glass and the great chandelier (bought immediately for the Palace of the King of Italian in Libya) in the Hall of Honour of the Italian Pavilion of Brussels — of Gardella and Belgiojoso, Peressutti, Rogers”. 32

There were indeed different designers — like the BBPR architectural firm, the already mentioned Ig-nazio Gardella, Vittorio Gregotti, etc. — who, in these years too, had recourse to the glassworks for lighting systems, either of their own design or mass-produced.33 Among them was Franco Albini, who in 1954 lit the auditorium of the Triennale with ‘lamps hanging between turquoise-coloured glass bells’ which then were included in the catalogue of the glassworks, together with other models devised by him.34 [16] The greater part of the mass-produced lamps (1954–55), however, were due to Massimo Vignelli, whose work shows the influence of the Scandinavian designers present several times at the Triennali in the course of the decade.The world of northern Europe was well known also to Paolo Venini from the end of the 1930s, espe-cially through his commercial relationships with the Swedish department stores, Nordiska Kompaniet and Svensk Tenn, and the Finnish store Artek, a familiarity based on personal relations and cultural and technical interests which was resumed and developed after the War and throughout the 1950s, leading moreover to the collaboration of Scandinavian artists (Tyra Lundgren and Grete Korsmo)35 with the glassworks. Significantly, after his death, the Swedish review Form, which had documented his work several times, rendered homage to him in an article by Kurt Ekholm with the eloquent title ‘Paolo Venini länk mellan syd och nord’ (Paolo Venini Link between North and South).36

At the end of World War II, what Ponti defined as his ‘lively organisational ability’ led Venini to ‘renew business relationships which had been interrupted because of the war’ in European countries — as emerges also from a note of the Chamber of Commerce of Venice of May 1946 — and to extend his agencies internationally: these in 1957 were present in Brussels, Hamburg, London, Paris, Vienna, Helsinki, Zurich, New York, Stockholm, but also Beirut, Caracas, Copenhagen, Manila, Nassau, Porto, Lisbon, St. Thomas and Toronto.37

Some of these ‘authorised dealers’, as for example the German, August Warnecke, and the American, Georg Jensen, became promoters of a series of mostly travelling exhibitions, often in a museum set-ting, which contributed to making the name and production of Venini known to a wider public, favour-ing among other things the inclusion of its glass pieces in the collections of important foreign muse-ums.38 [13-15]The initiatives promoted by institutions and other bodies, whether artistic (Biennale and Triennale) or commercial (Chamber of Commerce, Istituto Veneto per il Lavoro, Compagnia Nazionale Artigiana, etc.) such as exhibitions especially of the international travelling kind, in which Paolo Venini never failed to participate, contributed also to this.39 It is significant that, side-by-side with the commemorative article of Ponti, Domus also published the programmes of three exhibitions of Venini glass pieces held in 1957 in Vienna, Baden and Hanover. [3]In the same article Gio Ponti referred to his association with Paolo Venini ‘in the APEM time’.In 1946 he had involved the glassworks in the initiatives promoted by the ‘Società per lo sviluppo e l’esportazione delle produzioni artigiane’ (Company for the Development and Export of Craft Products) — called APEM (Artigianato Produzione Esportazione Milano) (Craftwork Production Export Milan) of which the chairman was Umberto Brustio and the managing director Romualdo Borletti, both of these being executives of La Rinascente — which was organising participation in a series of craft produc-tions at the 7th Milan Triennale (1947).40 On 17 July of the same year Ponti gave Venini some designs for table services, some of which were produced and exhibited at the Milan event in the section ‘ob-jects for the house’, where they were awarded a diploma of honour.41 These were artefacts of essential forms which, following the orientation of the exhibition, were intended

48 49

1 G. Ponti, ‘Venini’, in Domus, 361, December 1959, plate. Already in the October issue Gio Ponti had written with great feeling on the death of Venini, G. Ponti, ‘La scomparsa di Venini’, in Domus, 359, October 1959, p. 34. For other commemorative articles cf., among others, ‘Scomparsa di Venini’, in La Biennale, 36–37, July–December 1959, p. 94; A. Gasparetto, ‘Ricordo di Venini’, in Ateneo Veneto, vol. 144, n° 1, 1960, pp. 71–74; ‘In memoriam’ in Die Schaulade, August 1959, p. 800; K. Elkholm, ‘Paolo Venini länk mellan syd och nord’, in Form, 7, 1959, p. 428.

2 Giacomo Cappellin’s leaving of the company became official on 14 May less than a month after the opening of the Paris exhibition on 28 April. Already at the beginning of April, however, Cappellin had found new partners to open a new glasswork firm. Cf. C. Sonego, La Vetri Soffiati Muranesi Venini & C. Sviluppi e antefatti in M. Barovier (ed.), Napoleone Martinuzzi Venini 1925–1931, Milan 2013, p. 34. In Paris, the Italian production was also represented by the Milan stained-glass artist, Pietro Chiesa.

3 U. Ojetti, ‘All’esposizione di Parigi’, in Corriere della Sera, 4 Novem-ber 1925.

4 G. Lorenzetti, ‘L’arte del vetro e del cristallo’, in L’Italia alla Espo-sizione Internazionale di Arti Decorative e Industriali Moderne. Paris 1925, Rome [1926], pp. 91–136, and A. Mauri, ‘La tecnica del vetro’, in L’Italia…, op. cit., pp. 137–156.

5 ‘If this type of glass, because of the characteristics of greater malleability it possesses, is better adapted to being blown, free-hand, it […] does not have to such high a degree those qualities of brilliance, of limpidity, a limpidity possessed by other types of glass.’ Ibid., p. 128.

6 Ibid. Mauri in a letter to Venini had praised him for the brilliance of the material ‘that I have observed [...] with pleasure in your latest productions, since you partly replaced silicic with boric acid and reduced the standard solvent to the minimum’, letter from Mauri to Paolo Venini, 4 March 1926, in Galleria Nazionale d’Arte Moderna

(National Gallery of Modern Art) Rome (hereinafter GNAM), Fondo Ojetti, UA 1912, compartment. 76 7 (I).

7 G. Ponti, ‘Le ceramiche’, in L’Italia alla Esposizione…, op. cit., p. 71.

8 Regarding Il Labirinto cf. V. Terraroli, ‘Tomaso Buzzi e Gio Ponti: protagonisti insuperati delle arti decorative tra déco e novecento’ in M. Barovier with C. Sonego (eds.), Tomaso Buzzi alla Venini, Milan 2014, pp. 55 et seq.

9 Cf. ‘Copia del verbale della seduta de Il Labirinto in data 20 mar-zo 1928’, Archivio Tomaso Buzzi, Scarzuola (hereinafter ATB) in V. Terraroli, Tomaso Buzzi…, op. cit., no. 14, p. 61, where, among other things, it is indicated that following amendments to the company ‘the distribution of shares is as follows: 4 Venini/ 4 Gruppo Architet-ti/ 1 Chiesa/ 1 Visconti’. Cf. also, lettera di Gio Ponti a Tomaso Buzzi, [1927], ATB, Ibid., no. 4, p. 60.

10 Venini’s Italian shops distributed Richard-Ginori products up to 1930, the year in which Gio Ponti’s association with the firm came to an end. Cf. Richard Ginori, advertising page in Domus, 36, Decem-ber 1930, p. 18. The shops in Milan, Venice, Rome and Florence were managed through the companies Bottega del vetro, founded in 1925 and Vendita Vetri Veneziani V.V.V., founded in 1926, for ‘the market-ing of glass and ceramic pieces and the decorative arts in general’, which in February 1930 were merged in the new company Venini S.A., cf. Denuncia di società anonima, ditta Venini S.A., 3 June 1930 in the Archives of the Chamber of Commerce of Venice (hereinafter ACCVe), register of companies, Company 23722, Venini S.A.. For an initial summary reconstruction see also C. Sonego, La vetri soffiati Muranesi Venini & C…, op. cit. no. 42, p. 38.

11 Venini, advertising page in the Catalogo ufficiale della III Mostra Internazionale delle Arti Decorative, Milan 1927, p. III.

12 In 1930 the glassworks had eight agencies in Italy and eleven in cities abroad, which, in addition to those mentioned above, included Buenos Aires, Geneva, Madrid, Monaco, Vienna and Bucharest, Cf.

[17] Venini glass pieces after a design by Gio Ponti for APEM in Domus, 231, 1948, p. 34

[18] Venini bottles after a design by Gio Ponti. Period photograph, 1950, Venini Historical Archive, Murano. From the left: Morandiana II, Elisire and Morandiana III and I

[19] ‘Snow-white bottles’ in ceramics after a design by Gio Ponti shown in the exhibition Italy at Work,in Domus, 253, December 1950, p. 52

> [20] G. Ponti (?), drawing and studies for new types of bottle, graphite, pen and coloured pencil on paper, c. 1950, Venini Historical Archive, Murano

for mass production while remaining faithful to the quality of the Murano tradition, which Ponti ex-pressed through the technique of glass with canes and/or a playful use of colour.42 With regard to this, the architect pointed out: ‘with colours you can play in innumerable ways on the commonest or oldest shapes of crystal, from drinking glasses to chandeliers, transforming them’.43 Representative in this sense is the many-coloured chandelier where the traditional form of the chandelier with arms was revisited.An élite public, on the other hand, was the target of the small series of ‘eminent objects’ — published in the issue of Domus of June 1948 — characterised by applied crinoline and borrowed from his ce-ramic work.44 [17] Some bottles of this series were exhibited at the important travelling exhibition Italy at Work held in the United States between 1950 and 1953, in which both Gio Ponti, with an installa-tion, and Paolo Venini, with a wide-ranging collection of his glass pieces, took part. It was probably for this occasion that Ponti also designed another group of nine bottles, the greater part of which were on show in the exhibition areas and probably also in the living space that he had designed.45 [18] The different types of bottle are documented in a furnace design, with notes in the hand of the archi-tect, who had proposed two models of a stylised anthropomorphic form (Vecchia Dama and Campi-gliesca), two inspired by their hypothetical liqueur contents (Elisire and Campariana, eventually not produced), one with coloured superimposed ‘bowls’ and four Morandiane [in the style of the artist Morandi] (I, II, III and V). [20]In devising this series Ponti had taken up again some of the motifs to be found in his recent works such as, for example, the old theme of the container in the form of a female body, already explored in the Donna in crinoline (1946–48), and present also in some glass pieces by Bianconi for Venini (1947–50).In one case, the theme was combined with a homage to Campigli, while the reference to Morandi found expression in the group of ‘snow-white bottles’ in ceramics exhibited in his ‘dining-room’ in Italy at Work. [19] As for the model ‘with bowls’, this represented a further instance of those plays with colour of which he had already made abundant use, which in the models Vecchia Dama and Campigliesca were employed to characterise the petticoat and in the Morandiana II and Morandiana V to make the bottles ‘seem half full’.46 In these cases he had recourse to the incalmo [joining two pieces of glass under heat] technique, while for the other models he proposed variants with vertical canes, but also in filigree and monochrome glass.In his commemoration of Venini, Ponti also said: ‘A less important but significant fact, because in-spired by the desire to have all the best Italian forces represented in the spaces created by me, is that Venini is present in the ‘collections’ of his things which I, faithful to him and to the arts of Italy, destined for the villas I built in Caracas and Teheran”.47

This was the confirmation at the international level of a practice which, in previous years, had led the architect to include in his interiors the works of the Murano furnace and which in the 1950s was frequently repeated, from the Lucano apartment (1952) to the Amato apartment (1959) both in Milan where, as in Venezuela and then in Teheran, Venini glass pieces dialogue with architecture in a ‘modern united creative expression’.48

50 51

Venini, advertising page in Catalogo ufficiale della IV Esposizione Triennale Internazionale delle Arti Decorative ed Industriali Moderne, Milan, 1930, n.p. Following the international recession, in 1933 the foreign ‘depots’ had come down to four (Paris, London, Madrid and New York) and in 1934 to two (Paris and Lugano), cf. Venini, Adver-tising insertions in Domus, 61, January 1933, p. IV and Domus, 84, December 1934, p. 71. Because of World War II, in 1940 distribution was limited to Italy, with nine agencies, cf. Venini, advertising inser-tion, in Domus, 154, October 1940, p. 12.

13 Lettera di Paolo Venini ad Antonio Maraini, 10 January 1929, GNAM, Fondo Maraini, UA 2, Mostra di Nizza marzo–aprile 1929, corr. 107. Further details to be found in the correspondence be-tween the two. In particular on 11th March Venini asked Maraini for information about the closing of the exhibition ‘as I would like to send the two stained-glass pieces to Barcelona’ [to the Universal Exhibition]. In the letter he furthermore declared that ‘after Nice I will stop for three days in Barcelona, three in Madrid, then Paris and London’, evidence of his many journeys.

14 Cf. C. Sonego (ed.), ‘Cronologia Vetri Soffiati Muranesi Venini & C.’, in M. Barovier (ed.), Napoleone Martinuzzi…, op. cit., pp. 465–467.

15 Guido Balsamo Stella wrote to Fernanda Ojetti, the wife of the Milan critic, on 17 November: ‘We have finally started to engrave in Venice. We have a table service and some small bowls. The most important work is done when I — or my wife — go in turns to that town. The lawyer Venini had proposed some time ago to engrave his glass pieces and exhibit them in his various shops in Italy and abroad — still as Venini glass pieces – engraved in the Balsamo study. Given my modest demands (in terms of amounts) this combi-nation would have ensured the future of the laboratory for me. I am afraid that there may be opposition from the artistic director of the Firm, Martinuzzi, a Murano man. I’ll wait another few days and then ask Venini to give me a definite reply. I do not doubt Venini’s sense of fair play; but I fear he is not the only one to decide. […]’ (underlined in the text), GNAM, Fondo Ojetti, UA 90, compartment 4 14.

16 Cf. for example, in Appendix, Lettera di Paolo Venini a Ugo Ojetti, 7 March 1927, Fondo Ojetti, UA 1912…, op. cit.

17 Cf. Appendix. As one learns from the correspondence, Venini’s appointment in 1934 as President of the Istituto Statale d’arte of Venice and his being awarded the prize of the Reale Accademia d’Italia in 1935 are due, in part, to Ojetti.

18 Cf. the letters from Venini to Ojetti of 7 March 1927 and 24 Au-gust 1929 in the Appendix.

19 Regarding the Istituto Veneto per il Lavoro and its support activi-ty for the Murano glassworks cf. M. Rigon, ‘L’istituto Veneto per il La-voro e la cultura del progetto a Venezia negli anni cinquanta,’ degree thesis IUAV, Venice 2005–2006.

20 Cf. Filigrane di Murano: un’arte che riappare in forme nuove, in Domus, 1 January 1928, p. 29 and G. P[onti], ‘La casa all’italiana,’ Ibid., p. 7. In addition C. Rostagni, R. Dulio, La “Domus” di Ponti e Buzzi,’ in M. Barovier and C. Sonego, Tomaso Buzzi…, op. cit., pp. 63–73.

21 Dir. [G. Ponti], ‘Murano fatto d’arte, in Domus, 12, December 1928, p. 62.

22 G. Ponti, ‘La vicina IV esposizione internazionale d’arte decora-tiva alla villa reale di Monza’, in Domus, 27, March 1930, pp. 13–14. Some items by Piccinato had already been published in Domus at the end of 1929, E. L. [Lancia], ‘Apparecchi moderni di illuminazione,’ in Domus, 24, December 1929, pp. 42–43, while a lamp by Marelli was published on the cover in March 1930.

23 ‘I vetri muranesi,’ in Mostra di vetri ceramiche e merletti d’arte moderna italiana, catalogue of the exhibition in Amsterdam, Venice 1931, p. 6.

24 Regarding Venini S.A. cf. Note 10.

25 V Triennale di Milano. Catalogo ufficiale, Milan 1933, pp. 378, 391, 393–394, 412, 631, 692. In an ideal way, the Venini firm appeared also in the Galleria dell’Italia where, among the ‘built works’ doc-umented by a series of photographs, appear the pavilion for the industrial port of Marghera (1932) by Brenno Del Giudice and the palace of the Milan Stock Exchange (1927–31), designed by Paolo Mezzanotte, where the firm had produced the lighting installation.

26 Lettera della Venini S.A. a Tomaso Buzzi, 10 December 1932, in ATB. The glassworks also made it clear that ‘our association and the presentation of the models would of course be on our responsibility and at our expense”.

27 ‘I vetri d’arte italiani alla Triennale,’ in Domus, July 1933, pp. 379–381. Also, R. Pacini, ‘Arredamento e arte decorativa alla Trien-nale,’ in Architettura, a special dossier devoted to the V Triennale di Milano, 1933, p. 90.

28 ‘I vetri d’arte…’, op. cit., p. 381.

29 Cf. C. Sonego, Carlo Scarpa nell’ufficio tecnico della Venini in M. Barovier (ed.), Carlo Scarpa Venini 1932–1947, Milan 2012, pp. 45–65.

30 ‘Un nuovo negozio in Milano,’ in Domus, March 1934, pp. 23–25. A list of the interventions carried out by the Venini firm with equipment having modular elements can be found in C. Sonego, ‘Il progetto del vetro a Murano tra le due guerre,’ PhD thesis IUAV, Venice 2012.

31 ‘The financial year [up to 31 December 1931] of our company closes with a loss of 90 thousand Italian lire. The loss is undoubted-ly serious and is due to the aggravation of the economic recession which has become extremely acute: the proof thereof being the fact that several competing firms have closed their factories, while an-other equal to ours in importance [M.V.M. Cappellin &C.] has been declared bankrupt with huge liabilities. Competition in the past year was also intense and unfair and the many compulsory liqui-dations contributed to the depression of sales which registered a sharp contraction. It was therefore necessary to reduce prices and economise further, with regard to both staff and production costs. Sales abroad declined progressively and significantly, whether be-cause of the general recession or the application of customs duties and taxes imposed by many countries. Your Board, concerned by this situation, has tried and continues to try to build up the work of modern decoration and illumination and a certain number of orders have made continuity of work possible, if in a much reduced way’, Minutes of the ordinary and extraordinary general meeting of 29 March 1932, ACCVe, register of companies, Company 23722…, op. cit. Cf. also lettera di Paolo Venini a Fernanda Ojetti, 10 January 1933 in Appendix.

32 G. Ponti, Venini…, op. cit. His familiarity with the design world led Venini to promote the institution of the first Italian Scuola Superiore (third-level school) of industrial design in1959, in Venice, within the Istituto d’arte of which he was president from 1934. In the 1950s he also became president of the Istituto Statale d’Arte of Trent (1953) and of Udine (1958), cf. A. Gasparetto, Ricordo di Venini…, op. cit., p. 74.

33 Cf., among other things, ‘Venini Vasi Venini Lampade,’ in Domus, 314, January 1956, pp. 45–48; ‘Un grande negozio di libri a Milano,’ in Domus, 331, June 1957, pp. 14–21; ‘Negozio a Novara in Domus,’ 330, May 1957, pp. 21–23.

34 10. Triennale di Milano 1954, Milan, 1954, p. 321. ‘Il salone d’on-ore alla Triennale,’ in Domus, 300, December 1954, p. 6. In addition cf. ‘Precisazioni,’ in Domus, 316, March 1956.

35 In 1950, in an article on a Venini exhibition at Nordiska Kompa-niet, Elisa Steenberg reported how the glassworks used a Swed-ish-type furnace — construction by Hermansson, H. Steenberg, ‘Glasdirigent med Muranoorkester,’ in Form, 9/10, 1950 p. 202, n.p.

36 K. Elkholm, Paolo Venini…, op. cit.

37 Inserto pubblicitario Venini in Domus, 334, September, 1957, p. 56. The greater part of these were important retailers or contempo-rary design companies, as for example the English firm Finmar or the Finnish Artek.

38 Cf. List of Exhibitions in the present volume. For the exhibitions in the United States and for Georg Jensen, cf. also the article by Howard Lockwood, Ibid. A Warnecke catalogue, datable to c. 1952, stated that ‘The August Warnecke firm of Hamburg has represented Venini S.A. for over twenty years for Germany, Switzerland, Spain, Portugal and Morocco’ and that at the Venini company ‘three mod-ern ovens, a hundred workers and various top-class artists imple-ment the plans of the founder and director of the firm, the lawyer Paolo Venini”. Among the international museums which during the 1950s bought or acquired Venini glass pieces are, for example the Österreichisches Museum für angewandte Kunst of Vienna, the Victoria & Albert Museum of London, the Kunstindustrimuseum of Trondeheim (Norway), the Museum of Modern Art of New York.

39 Venini took part in the life of some of these institutions. In par-ticular, from 1945 he was a member of the Associazione Industriali and of the Istituto Veneto per il lavoro (from 1950 as a member of the Executive Committee). From 1951 he discharged the function of vice-president of the Tourism Section of the Chamber of Commerce,

Industry and Agriculture of Venice and was a member of the Council of the Provincial Tourism Body cf. A. Gasparetto, Ricordo di Venini…, op. cit., p. 74.

40 APEM corrispondenza, in the Archivio Storico della Triennale, Milan, Triennale 1947.

41 The dated designs are in private collections. The designs of the drinking glasses of the service called Pezzente, which was not pro-duced by Venini, were later reworked by Ponti for the Taddei glass-works of Empoli, which exhibited them at the 9th Triennale of Milan (1951), Cf. ‘Indice’, in Domus, 262, September 1951, p. 1.

42 T8 ottava Triennale di Milano. Catalogo-guida, Milan 1947, p. 171.

43 ‘Idee per l’estate,’ in Domus, 227, February 1948, p. 71.

44 ‘Oggetti illustri,’ in Domus, 231, June 1948, p. 34. With regard to Ponti and ceramics cf. the article by Valerio Terraroli in the present volume.

45 Gio Ponti, Dining Room, in M.R. Rogers, Italy at work: her Renais-sance in design today, catalogue of the exhibition, Rome 1950, p. 60. Also, ‘Murano’, in Domus, 253, December 1950, pp. 58–59.

46 Again in 1954 Ponti asked Paolo Venini to ‘make some “Moran-dis” and create many bottles […] These bottles can be in Moran-di-style non-transparent colours (lattimo, blue, pink, laguna etc.). Or in different filigrees, or so that they look half-full […] Or in front in one colour and behind in another so that, combined, they seem, if looked at from one side, clear and tending towards yellow and, on

the other, towards blue. Each bottle is also a fine vase in itself’. Let-tera di Gio Ponti a Paolo Venini, 25 October 1954, in Epistolario Gio Ponti, Eredi Ponti-Rosselli. We thank Gianluigi Calderone for point-ing this out. In this letter Ponti had also proposed the production of ‘vases formed of tubes in two colours or more, each different […] These tubes attached one to the other may be 30/40 centimetres in height and of a diameter of 4 cm, three of them rest on the ground and support the whole structure. You can also make them a little inclined, you can also make a vertical complex one metre in height with many tubes. You can make them in chocolate-wrapper colours, glossy, transparent, filigree-style, opaque.’ However, the idea was rejected by Venini: ‘Your idea of tubes in different colours attached together is […] technically impossible or would produce only a poor result. Lettera di Paolo Venini a Gio Ponti, 19 November 1954, in Epistolario Gio Ponti, Eredi Ponti-Rosselli.

47 These are the Planchart (1953–57) and Arreaza (1955–56) villas in Caracas and Villa Nemazee (1957–64) in Teheran. Cf. for exam-ple ‘Una villa “fiorentina,”’ in Domus, 375, February 1961, pp. 1–40; ‘Villa “la diamantina” a Caracas,’ in Domus, 349, December 1958, pp. 5–32. ‘A Teheran una villa,’ in Domus, 422, 1 1965, pp. 14–19.

48 ‘Un appartamento a Milano,’ in Domus, 355, June 1959, p. 35, article dedicated to the Amato apartment, where among the glass pieces illustrated are a vase in the series Forati by Bianconi and two fish with bands by Ken Scott, p. 37. With regard to the Lucano apart-ment cf. ‘Casa di “fantasia”’, in Domus, 270, May 1952, pp. 28–38. In this apartment there was a showcase given over entirely to Venini glass pieces, the majority of them designed by Bianconi, p. 33.

52 53

APPENDIX

The Venini-Ojetti CorrespondenceThe Venini-Ojetti correspondence, belonging to the Ojetti fund and kept at the Galleria d’Arte Moder-na (Modern Art Gallery) of Rome (UA 1912, cass. 76 7 [I-II]), comprises approximately 200 documents between letters and cards (from 1925 to 1957), evidence of the relatively frequent exchanges existing up to 1938 between Paolo and Ginette Gignous Venini, on the one hand, and Ugo and Fernanda Ojetti, on the other.It documents the association between the Veninis and the Ojettis at the openings of exhibitions, es-pecially those of Venice and Milan, but also relationships of a personal kind connected with travelling, holidays, health problems, etc. After the initial request for ‘protection’ and ‘advice’ made by Paolo Venini to Ugo Ojetti (in 1925), in the correspondence we find: news about Venini’s activities, with reference to certain works, the difficul-ties encountered during the economic recession, his many journeys abroad and participation in inter-national exhibitions; his thanks for articles where Ugo Ojetti cited the work of Venini; references to the question of the decorative arts in Italy (organisational difficulties affecting exhibitions, governmental positions, comments and opinions about the directors of the Triennale); news about the Veninis’ rela-tions with Emilio Lancia, Gio Ponti, Tomaso Buzzi, Roberto Papini and Nino Barbantini; acknowledge-ments and news regarding the appointment of Paolo Venini to the position of Chairman of the Board of Directors of the Art Institute (1935 and following) and for the prize awarded to Venini by the Accademia d’Italia (1935) due to the intervention of the critic; references to ‘Venetian questions’ (Ca’ Rezzonico, Veronese exhibition, the Ridotto problem) in which Ojetti was involved; news and acknowledgements regarding the support given by Ugo and Fernanda Ojetti during the disorder affecting Paolo Venini’s eyes (late 1933 and 34) and when Venini was called for military service (1935); news of the ordering of glass pieces and lamps by Fernanda Ojetti.Some transcriptions of the letters follow below.

Letter from Paolo Venini to Ugo Ojetti, 15 June 1925, Venice‘After your kind words in Monza I should doubtless have fol-lowed your advice of a notice on the major newspapers, if my lawyer, who is the legal counsel of your bank ‘Società Italiana di Credito’, had not dissuaded me in absolute terms, advising me instead to send everyone a copy of the circular, which I en-close for you. The newspaper notice might not have been seen by many people and might also have given the impression of a kind of commercial publicity, which is something I have always avoided. I naturally count a lot on the tide of support that helps me in the daily effort of research and the love for this noble material. I appeal to your so clear and Latin sense of beauty that you may look at our old and new pieces and tell me what you think of them. You know how precious your ad-vice is to the young whose enthusiasm is not yet disciplined by deep experience and a sensitivity refined by an exceptional culture such as yours. May I ask you for this advice and this help? Respectfully yours, Paolo Venini”Enclosed typewritten circular, dated 8 June 1925 ‘The “Vetri Soffiati Muranesi” Cappellin Venini & C. advises you that, following the withdrawal of Sig. Giacomo Cappellin as Manager and Partner of the Company, the latter has taken on the new company name of “Vetri Soffiati Muranesi” Venini & C. The company continues with the same industrial and artistic purposes and also, thanks to the ensured association of new administrative parties and expert master glassmakers, is now in a position to increase its production, which will always follow that pure simplicity of forms and that perfect form of execution characteristic of the products of “Vetri soffiati Mu-ranesi” Venini & C. Retail sales continue through the present shops and Agencies and in those new towns of which you will

soon be informed.’ This list follows: ‘Venice (24), piazzetta Leoncini 314 […]; Rome (8), via del Ba-buino 59 a […]; Milan (3), via Montenapoleone 25 […]; Paris, at D.I.M., Place de la Madelaine 19 […]; Amsterdam, c/o Firma Fetter & Co. 79, Veteringschans; Brussels, at Wolfers Frères 11 and 13, Rue d’Arenberg […] ; Berlin W 15, c/o Alfred Heller, Kurfurstendamm 44 [...]’

Letter from Paolo Venini to Ugo Ojetti, 17 February 1927, Venice‘I have received your letter and must admit that the fault is entirely mine, as I could have been more explicit when writing from Zurich. The exhibition of my glass pieces opened on 8 February in Geneva at the Museum of Decorative Arts, the most important museum in the city, which holds an industri-al exhibition every year. I had been asked for this exhibition since August; this is why I did not want to participate in the one opened at the Rath Museum, also in Geneva, on 6 Feb-ruary with the group of Italian painters Gio Ponti and Cap-pellin. For me in fact the one in the Museum of Decorative Arts offered a greater possibility of presentation, even if the Italian group, well organised by the architect Sartoris of Turin, managed to get a beautiful presentation catalogue printed, from which I gather, and also from the Journal de Genève, that one might be able to create for oneself a line of descent go-ing back to 1291. I believe therefore that it will be difficult to talk now of my exhibition in the same way as the other one in Geneva was talked of, in which a magnificent group took part and not just one exhibitor. You will decide. I also send you the article from the Journal de Genève, because you know how much I value your judgement and your esteem. Kind regards P. Venini”

Letter from Paolo Venini to Ugo Ojetti, 7 March 1927, Berlin Charlottenburg‘Yesterday in Leipzig on the new premises of the Grassimuse-um the European Exhibition of Decorative Arts was opened, which will last until August. France, England, Austria, Holland, Denmark and Sweden, in addition to Germany, took part with a wide range of their best production. To the Italian Room, for which a committee (always these committees) was set up and a long correspondence carried out, which Professor Graul of the Grassi Museum showed me, only Stella came, with an excellent selection of his engraved glass pieces. The catalogue gives a long list, but I knew even before leav-ing Italy that none of this would come to pass, because the Marangoni-Sarfatti-Pica committee withdrew at the last minute and only Pica was left for a Venetian room to be or-ganised at the eleventh hour and which naturally came to nothing. Fortunately in the last few days I was able to come to an agreement with Prof. Graul for an individual Room and I accepted Stella’s pieces to be shown with mine; but with the more particular insight one has outside the borders of one’s own country, I deplore our Italian absence from this first great collective exhibition of the decorative arts in Germany; just think that France is taking part officially here for the first time. I am writing this to you because you know and love the art of Italy with deeds. and not just with words, even if your words are so valuable. Due to a fine room and the magnificent organisation of all necessities, Stella’s and our own glass pieces enjoyed a very good presentation that had great suc-cess, from Hoffmann to Oufrène, from the journalists to the general public. I had the Corriere here which reported on the Exhibition of Geneva: thank you for your words, for your sup-port I ask only that you remember Martinuzzi, if and when you discuss my glass pieces, as I do not want to take his share.[…] My respects to Signora Fernanda, to your daughter, to you Kind regards P. Venini’

Letter from Paolo Venini to Ugo Ojetti, 9 March 1927, Berlin Potsdamer Platz‘I made a quick visit to Leipzig today and was informed that finally some crates are about to arrive from Italy for the Exhi-bition. I do not know and they did not know exactly what they were but naturally I want to waste no time in telling you this to correct my other letter. A pity they are arriving after the opening and at the end of the Messe which attracted people from all over the world. Kind regards from your devoted Paolo Venini’

Letter from Paolo Venini to Ugo Ojetti, 19 November 1927, Cologne‘Dear Ojetti, I hope to meet you in Paris in the first few days of December to give you an account of my journey. I think you will know already that in Germany all the Italian newspapers are on sale at 30 cents of a Mark, except the Popolo d’Italia at 20 cents. I found this to be the case in Munich and here. I am very happy with how we have been received: both in Munich and here they have arranged for an exhibition in the local mu-seums for the next few months; they are all au fait with Italian art and ask only to learn and to make known what we have to offer that is alive and true; there is a love for modern dec-orative art here, despite their mixing of good and bad things, something which is foreign to us. Respects to Signora Ojetti and to you from your devoted P. Venini’

Letter from Paolo Venini to Ugo Ojetti, 24 August 1929, Venice‘Dear Ojetti do you know that for the Pope’s outing I was on the same balcony? A pity I realised it only on reading your beautiful “Cosa vista”. I would like to inform you I have been told that France is beginning the construction of an enormous skyscraper in New York, the biggest in the city. In this skyscraper will be put: the Consulate, the commercial attaché, a permanent exhibition of decorative art, spacious rooms for subsequent exhibitions of pure art. The remain-ing rooms will be leased to French or American commercial companies: and it is presumed that these rents will com-pensate for the capital necessary for the construction of the skyscraper. The high-rise building will naturally be called the France Building. The commercial attaché will also have to study the American market. In this splendid way France continues its programme of conquest that you know so well and of which we talked in Venice. You know what we did in

Barcelona: the usual isolated efforts, of which also Ciarlantini wrote in Augustea. When will they understand anything of this up there in Rome? Pardon me this outburst dear Ojetti; but you know how we all look up to you, because for so long you have battered at those doors to try to make them open their eyes. Kindest regards from your devoted Paolo Venini”

Letter from Paolo Venini to Fernanda Ojetti, 10 January 1933, Murano[Following the article Spiragli di luce. Il promettente risveglio delle industrie di Murano. Fabbriche che riaprono e operai che tornano al lavoro (Glimmers of light. The promising reawak-ening of the industries of Murano. Factories reopening and workers returning to work), in the Gazzetta di Venezia, Janu-ary 1933]‘Dear Madam, How wonderful if it were true... But the arti-cle must have been written by a civil servant on the basis of data conveniently inflated of the workers employed in the first week of December; data that all the industries transmit monthly. In that week because of a certain increase in blown glassware, because of Christmas orders; and above all be-cause of the resumption of work by the two major glass bead companies, there was a significant increase. But...the two bead companies, with convenient government banking sup-port, had committed themselves to resuming work (for ware-house goods) and after a week they stopped; they are starting again now with the promise of working 6 days per month. And with state money one can work to put more pearls into the al-ready full warehouses. The blown glass ones are languishing; this week two of them have suspended work. This is a chron-icle of the facts. The article recounts a story. The chronicle says that in 1930 Murano exported an amount worth 8 mil-lion and that in 1932 it exported 800 thousand lire, between pearls, blown glass pieces and... ‘Venetian’ glass pieces made in Bohemia; that in 1930, 8000 workers were employed and in 1932, 800; that the production intended for domestic con-sumption was not subject to statistics, but I believe that has decreased by a half and especially that the type and quality of processing has greatly deteriorated. And with all this just think that such an article appeared in the Gazzetta di Venezia. Dear Madam, only your letter compensates for this stupid article. I, with the help of the Turin work, continue the reduced processing of last year and hope to survive. Now I have the time to prepare for all the new production and the Triennale. Ginette will give you our good news. Please give all my re-spects to Ojetti and Paola. Your devoted friend Paolo Venini’

Letter from Paolo Venini to Fernanda Ojetti, 14 October 1935, Padua “Dear Signora Nanda, I saw your last letter through Gi and with the pleasure of hearing your news I became remorseful for my long silence. I am very busy between military service and the short visits to Venice (first Lido and Murano now fortunately only Murano) and sometimes to Milan. Here be-tween recruits arriving and reserves setting off for A.O. they ask us for a fairly long service and I must make up for my brief absences by extending my military timetable in the following days. The work at Murano is now at the culmination point for consignment on 28 October; after that I don’t yet know what we will have. I will work for the new things I have already thought of and of which at the moment there is no time to make samples (especially illumination of table centrepiece frames). Did you see Ojetti on today’s Corriere the article on Murano glass pieces? It is a pity, even if it is among the fashionable things. I had a long conversation with Gio Ponti about the Triennale which seems to me to be poorly defined, about the decorative arts at Felice’s, while Pagano and Sironi are not interested in the programme. Just think that Felice must now look after Paris 1937 and proposed that I should send to it (as he proposed to all the others) anything left over from the Triennale of 1936... It is true that more serious and decisive things are about to take place, but when I return to Murano the passion for my work takes over me and also the depression caused by these public programmes. With regard to the Geneva question I am decidedly optimistic. England without France will do nothing serious, as it has always loved to have the others take the chestnuts out of the fire; and I am convinced that Mussolini has had precise commitments from France [...]. Remember me to Ojetti, to dear Paola; my devoted regards to you, P. Venini’

54 55

PAOLO VENINI IN THE RIO DEI VETRAIRosa Barovier Mentasti

The story of the Venini glassworks is generally seen as the saga of a firm, in the sociological sense of the term, whether by those who participated and still participate in the enterprise or by those who were and are enthusiasts for its products. To the first belong, not only Venini and his successor and son-in-law, Ludovico Diaz de Santillana, with all the family members involved in the glassmaking ac-tivity, but also the designers and the workforce, from the greatest of the master glassmakers to the last of the packers. Paolo Venini launched an enterprise based on the celebrated idea of perfect inte-gration between a concept of art and design derived from other contexts (from the art of the painter Zecchin and of the sculptor Martinuzzi, from the world of Venetian but also — and in particular — Milan design, from Sweden, Finland and the United States) and the refined knowledge and executive skills of the Murano tradition. All of this filtered through the taste of the founder and his successors, who reserved for themselves an almost absolute power over the selection of the models to be put into production. The associates and employees always supported the informing principles of the Venini saga — proudly, loyally and with an unfailing feeling of belonging, even at times of the greatest so-cial and labour unrest — and they felt themselves to be co-protagonists. Among the enthusiasts and champions of the Venini style, one must distinguish between the collectors, experts and historians of the art of glass, on the one hand, and, on the other, those who see the firm’s products as an indis-putable status symbol, even if they lack any deep understanding of their specific characteristics. And indeed there has always been something prestigious about owning or giving a Venini glass piece, even one of the most conventional kind.Connected to the perception of the Venini phenomenon as the saga of a firm is the realisation of the unique nature of the glassworks and the impression that, while the entrepreneur operated in Murano, he did so in splendid isolation. This does not correspond entirely to the facts. Paolo Venini was not in reality disconnected from the world of Murano glassmaking, mainly located in the Rio dei Vetrai. [1] His work was watched and sometimes imitated by his colleagues and he, in turn, observed and drew inspiration from them. Moreover from the 1930s to the 1950s, the ‘giants’ of 20th-century Venetian glass work were active on the island, exceptional personalities whom no one could ignore. The recently deceased entrepreneur, Giovanni Moretti, when highlighting the difficulties of launching a new artistic glasswork enterprise with his brother Carlo in 1958, recalled the Murano world of the 1950s: ‘Leav-ing the workplace we would meet along the Rio dei Vetrai, [1] not only Paolo Venini, but also Alfredo Barbini, Ercole Barovier, Flavio Poli, Archimede Seguso, Ermanno Toso and many others. How could we stand up to the competition and carve out a place for ourselves?’ The young Moretti brothers rose

[1] Rio dei Vetrai, 1960. Copyright Luigi Gigi Ferrigno. Venini’s motorboat is moored to the Fondamenta dei Vetrai in front of the entrance to the glassworks

56 57[5] F. Poli, Seguso Vetri d’Arte, vase Cristallo incrociato, 1939. Filippo Gambardella collection

[2] U. Moretti, bowl in murrine glass, 1932. Private collection, Venice

[3] P. Venini, Venini glassworks, Murrine romane, 1936. Barovier’s Archive, Venice

[4] P. Venini, Venini glassworks, Diamante jar, 1934. Private collection

successfully to the challenge. Probably the high quality of the collections they produced was in part due to the necessity of competing with the artistic glass masterpieces exhibited by the already estab-lished firms at the Venice Biennali, from 1932, when the Padiglione Venezia (Venice Pavilion), intended for the decorative arts, was inaugurated. The Biennale, more than other exhibition events, was not only the principal place of comparison between glasswork firms but also the occasion to observe, analyse and possibly draw inspiration from the exhibits of others.Ulderico Moretti, who together with his family owned a glasswork firm concentrating on industrial production — to the extent that any Murano production can be industrial — but who had a person-al enthusiasm for the reproduction of archaeological murrine glass pieces, as had had his grandfa-ther, Vincenzo Moretti in the 19th century, was also invited to this inauguration of the Venice Pavilion. Ulderico exhibited a series of murrine bowls ‘far from merely fashionable forms, beautiful as glass pieces from an archaeological dig,’ wrote the review Domus.1 [2] In 1932 the murrine technique, recov-ered in 1877 by Vincenzo Moretti at the furnace of the Venice and Murano Glass and Mosaic Company, had been neglected for some years, following the excellent use that had been made of it in the 19th century and the first two decades of the 20th century. The last works of great distinction produced using this technique were the large vases of Ercole and Nicolò Barovier in 1925, which, however, had little resemblance to the Roman models. In these pieces, Art Déco in style, the tesserae, joined in a complex murrine pattern, were in fact dilated and made thinner by blowing, and were tran sparent. In 1934 Ulderico Moretti, once again selected by the Venice Pavilion, proposed a series of his works, among which three pieces, indicated in the catalogue as Three Examples of Roman Glass Work, a de-scription which is difficult to interpret exactly, as this was an event dedicated to contemporary art. The three ‘examples’ were probably a work by Ulderico following an ancient Roman model but could also be identified with the three panels of a splendid sample collection of 104 plaquettes, which were on show in the head office of the Moretti glassworks. The murrine plaquettes had been executed by Vincenzo Moretti in 1881.2 It is possibly no coincidence that in 1936 Paolo Venini exhibited his collection Murrine romane at the Biennale of Venice and the Triennale of Milan.3 [3] A plausible theory is that his interest in the ancient technique was awoken by the Moretti pieces seen at the Biennali of 1932 and 1934. The Venini collection exhibited in 1936 is often attributed to Carlo Scarpa or to a collaboration between Carlo Scarpa and Paolo Venini; it was due, however, to an idea of Paolo Venini’s, if we are to believe the memory of the Venini family and the testimony of his private secretary. Venini’s Murrine romane were completely different from those of Moretti — opaque and characterized by a rich polychromy and vir-tuoso technical perfection — because they were, on the contrary, transparent, deliberately irregular both in the network of the tesserae and in the form, with a decided naïf fascination. At the time they constituted an isolated episode, not only at the Venini glassworks, which would propose the murrine again only in 1940, but also for the whole of Murano, where it would be rediscovered in the post-War period. In the 1930s, the style of the time demanded something quite different: very thick glass, mostly in watery or autumnal hues, animated within the wall by air bubbles, gold or silver leaf or layering, or decorated on the surface by acid etching, iridising or relief motifs.The Diamante vases, on the other hand, designed by Paolo Venini in 1934 and characterized by regu-lar bosses in relief, accorded well with the stylistic features of the 20th century. [4] They were based, according to the testimony of employees of the furnace, on the advance preparation of a rectangular plate obtained by juxtaposing and then fusing glass canes with a triangular cross-section and of an identical length, i.e. long regular prisms with a triangular section, called triedri at the furnace. The re-sulting fused plate with an undulating surface was taken up with a blowing pipe and folded over on itself so as to form a cylinder which, once closed, was blown and modelled into the shape of a vase or bowl. In this phase a torsion was exerted on the glass in order to give the relief canes a diagonal pat-tern. Up to this point the process coincided with that of the ancient mezza filigrana, even if the results were totally different because of the difference of the modular rods used. The incandescent artefact was then imprinted inside a mould with the blades oriented in an opposite direction with respect to the

canes, which then came out segmented. In this way, a bossed or diamond effect was created. The vas-es produced were very thick and irregular, almost sculptural, in form, in accordance with the prevailing fashion of the late 1930s. They were exhibited at the Venice Biennale in 1934 and 1936 and achieved a long-lasting commercial success.4 The collection attracted the attention of the designer, Flavio Poli, and the master glassmakers who were his associates in the Seguso Vetri d’Arte, among whom one des-tined to have the greatest professional success, Archimede Seguso. They imitated the pieces devised by Venini. This was not an infrequent event in the history of Murano, but this time things happened in a somewhat unusual and decidedly more interesting way, as recalled by Archimede in the course of an interview which took place in 1990.It was not in fact difficult for Archimede, the foremost master glassmaker of the firm — a firm which was distinguished for the excellence of its products and at the time shared with Venini the most im-portant clients in the lighting sector — to understand the technical processes involved in producing the Diamante series and to reproduce them exactly, which is what happened. Soon, however, it became clear that there was a real possibility of the Seguso glassworks losing a court case being brought by Paolo Venini for plagiarism of an intellectual work, as the Venini Diamante collection was based not only on the novelty of the forms and decoration but also, and in particular, on the elaboration of a new working process. On the day before the opening of the court case, Archimede Seguso, Flavio Poli and other co-workers experimented incessantly to try to come up with a parallel but different tech-nique in order to obtain a glass surface similar to that of the Diamante, and they succeeded; a clever ruse, which proved effective, to show that there had been no plagiarism. Perfecting the technique, they succeeded in designing the collections Cristallo brillato e Cristallo incrociato and Cristallo brillato (or diamantato) put into production from 1939.5 [5] The new method consisted of preparing a concave glass element, with ribbing on the internal surface because it had been produced by being pressed between two moulds. On the outside of a second glass element attached to the blowing pipe, similar ribbing but oriented in the opposite direction was impressed, and this was later blown inside the first. The superposition of the ribbing created a bossed decoration and regular air bubbles could be then be imprisoned at will inside the thickness of the glass, giving an effect of greater brilliance. This singular episode constitutes a significant example of how, even today, ideas circulate in Murano and of the effect of competition and emulation between the glasswork firms. It is a game which has been repeated in more or less the same way since the 15th century at least, and from it has come the technological richness and the vivacious dynamic nature of Murano glasswork throughout its long history. At the time of the Venetian Republic, a technical invention generally implied an application for a patent by its creator. Following information surveys in the glasswork sector, the competent magis-trates could award the patent, which however was of short duration, in general ten years, so that at its expiry the new technique was freely adopted and often further developed by others. The circulation of the workforce from one glasswork firm to another and their concentration at Murano, exclusively along the Rio dei Vetrai up to the 18th century, facilitated this dissemination. For example, after the expiry of the 10-year patent, 1527–37, awarded to Filippo and Bernardo Serena for the a retortoli fili-gree, this technique — called zanfirico from the 19th century onwards — became common property, the patterns with twisted canes increased and multiplied, the a reticello filigree was invented and, later, hybrids between the two types of filigree were also produced. All of this undoubtedly with the contribution of other glassworks. The first documented a reticello filigree productions are in fact the redezino works produced by the Bortolussi glassworks, which then itself also produced the retortoli.6

As for the Venini Diamante, the triedro, that is the modular rod used in making them, was later exploit-ed as an independent element to produce chandeliers of extraordinary brilliance. Archimede Seguso, for his part, subsequently developed the technique of the Cristallo brillato and Cristallo incrociato with new results, producing in 1961 the Vasi a Griglia collection, characterized by the superposing of two layers of different colours, giving an iridescent effect. He had left Seguso Vetri d’Arte some twenty years before and from 1945 worked at his own furnace, called Seguso Archimede.7

58 59

[8] A. Seguso, Seguso Archimede glassworks, Merletto vases, 1952. Private collection

[9] P. Venini, Venini glassworks, Zanfirico reticello vase, 1954. Private collection

[6] N. Martinuzzi, Venini glassworks, pulegoso vase, c. 1930. Private collection

[7] F. Poli and A. Barbini, Artistica Vetreria e Soffieria Barovier Seguso & Ferro. Private collection

In the 1930s competition between the Seguso and the Venini glassworks was evident on other oc-casions, even if at first the match was an unequal one, but not with regard to the aspect of techni-cal execution. The former, founded in 1932, had difficulty in finding a homogeneous and recognizable style of its own, whereas the latter had for some time been organised on extremely coherent bases. The Seguso Vetri d’Arte glassworks, in fact called Artistica Soffieria e Vetreria Barovier Seguso & Ferro up to 1937, from its initial years produced, among other things, vases in pulegoso glass, with closely packed irregular air bubbles (pulighe) inside the wall, obtained — as is well known — by pouring oil inside the melted vitreous mass contained in the melting pot.8 The pulegoso glass was received very favourably by the market and by the critics from the time when Napoleone Martinuzzi, artistic director and partner of the Venini glassworks, had presented it in extraordinary 20th-century style collections in 1928. [6] The success of the Venini products encouraged the Seguso glassworks to turn to this type of glass. However, this was not an example of plagiarism but rather a form of re-appropriation. In fact, the technical expedient of causing bubbles in the glass contained in the melting pot by pouring oil into it had been thought of by Giuseppe Barovier, partner in the Salviati Dr Antonio Glassworks (later Artisti Barovier) as the first phase in the preparation of madreperla (mother-of-pearl) glass, for which he had obtained a patent in 1886.9 Some years later at the Esposizione di vetri artistici ed oggetti affini di Murano e Venezia(Exhibition of Artistic Glass and Similar Pieces of Murano and Venice) inaugurated at the Museo Vetrario (Glass Museum) in 1895, the Artisti Barovier had exhibited, together with other novelties, two mother-of-pearl chandeliers, some examples of which are still kept in the Museum.10

Martinuzzi, who was born in 1892, could have no memory of these experiments but as director of the Museo Vetrario from 1922 to 1931, he certainly had the occasion to observe madreperla chandeliers and to investigate their production technique, so being in a position to try it out in 1938 as artistic director of the Venini Glassworks. As for the Barovier Seguso & Ferro Glassworks, one of the found-ing partners was Napoleone Barovier, son of the old master, Giuseppe Barovier, the holder of the old patent. All of this explains the declaration of the journalist, Vittore Querél, who in 1932 criticized the more recent Murano productions in both opaque glass and pulegoso glass: ‘…the error of the opaque glass. This opaque glass was an attempt which soon failed, as also had to fail the so-called oil glass, which was not at all new, given that it was tried fifty years ago.’11 Querél was not mistaken in consid-ering pulegoso glass to be half a century old. Going back 50 years from 1932 brings us to the 1880s, when Giuseppe Barovier tried out the effect of oil on melted glass. He was profoundly mistaken, on the other hand, in considering opaque glass to be an error, for he had a one-sided vision of glass, which at different times and in different geographical areas has taken on very varied connotations, all of them equally worthy of admiration. He was also mistaken in considering the season of pulegoso glass to be already over, for it would continue to be successful until the end of the decade.Continuing then with this play of the interactions between one glasswork firm and another, one could point out that some of the models produced in 1936 by Flavio Poli at Seguso Vetri d’Arte with pulego-so glass and opaque glass were inspired by models designed by Napoleone Martinuzzi in the years 1933–34 after he had left Venini. [7] They were suggested to Poli by the well-known master, Alfredo Barbini, formerly an associate of Martinuzzi, who worked at the Seguso glassworks for a brief period, in 1936.12 This, however, is another story and does not concern Venini.We could mention other significant interactions between the Venini glassworks and other factories in Murano and, among these, two examples concerning the 1950s are particularly striking and indubita-bly easier to interpret than the more intricate events of the 1930s. For the Murano glassworks, the pe-riod following World War II marked by the greatest economic vitality and prosperity period of the entire 20th-century. New glassworks were founded and those already in existence were extended; brilliant designers and artists came to Murano; already established masters consolidated their reputations, while younger ones were able to make themselves known and appreciated. Heat modelling of sculp-tural forms, which had taken off in the 1930s, adapted itself to a more exuberant taste but, above all, some traditional techniques which had been neglected for 20 years were rediscovered, such as filigree

and the murrina. In the filigree sector, Archimede Seguso distinguished himself. Archimede Seguso, formerly first master glassmaker of Seguso Vetri d’Arte, which he had left in 1942, commenced an independent activity in 1945. A complete master such as few have succeeded in being, for he was competent in all sectors of production, he distinguished himself in the modelling of animals in solid glass. His name is, however, indissolubly linked to certain radical innovations, namely some ex-clusive and unprecedented variations in the technique of filigree, which had not changed substantially over the course of the centuries. His innovations are noteworthy for their exceptional finesse. Anyone with a good knowledge of Murano glass-working processes will fully appreciate the ingeniousness of the operations under heat and cold which enabled Seguso to achieve such outstanding results, start-ing from the classical canne ritorte (twisted canes). The best known among the new filigrees was the Merletto, the thin wall of which is covered by a very delicate, regular but apparently chaotic, network of threads, in harmony with the taste of the 1950s. The Merletti were exhibited at the Venice Biennale of 1952 and at subsequent exhibitions.13 Also extraordinary were some pieces in the collection char-acterized by irregular zones of crystal that inserted themselves in the netted wall like openings into space.14 [8] Did this reflect an awareness on the part of the master glassworker of Spatialism or was it a simple perception of the spirit of the time?Archimede Seguso’s Merletti were obtained following the classical technique of a retortoli filigree, with a subsequent operation under heat using specific moulds. The numerous examples exhibited at the Biennale in 1952 impressed visitors with their refinement, but in particular impressed the glasswork-ers and entrepreneurs of Murano, among whom Paolo Venini, whose curiosity was always aroused by the Venice Pavilion. There do not appear to have been any copies produced at the time by other glass-works. Was this due to difficulties in understanding the working process or respect for the begetter of an exceptional invention? Certainly the employees of Archimede Seguso were as one in defending the secret. In 1954, however, Paolo Venini proposed a filigree collection which clearly evoked the Merletti. He exhibited them at the Venice Biennale and Milan Triennale of 1954 together with other glass pieces designed by him and characterized by sobriety in form and colour, in contrast with the lively polychro-my of the Venini models designed by Fulvio Bianconi at the same time. The collection of Zanfirico a reticella or Zanfirico reticello vases of Paolo Venini showed a delicate and closely packed mesh which at first sight appeared chaotic, [9] similar to that of the Merletti of Archimede Seguso at the previous Biennale.15 They were, however, obtained using an entirely different process which combined a retor-toli filigree (also called zanfirico) with reticello filigree, a hybrid technique, as is evidenced also by the name under which they were presented. Two or more elements produced with twisted cane filigree were in fact blown one inside the other, as in the Renaissance technique of the reticello.At the Biennale and Triennale of 1954 the beautiful Zanfirico mosaico vases, also designed by Paolo Venini, were furthermore exhibited. [10] The blown wall of a homogeneous colour was decorated by a band of twisted or zanfirico canes arranged in groups, alternately vertical and horizontal, in a sort of patchwork.16 Similar ‘trelliswork’ pieces, never recorded in the history of Venetian glass, even if they did not require particular technical expedients, had already being seen at the Milan Triennale of 1951 and Venice Biennale of 1952. They constituted the Leitmotiv of the series of Zanfirici by Dino Martens, such as the well-known Bottiglia Traliccia of 1951 and the Vaso Fermento of 1952 [11] designed for the Vetreria Artistica Aureliano Toso, founded in 1938.17 As early as 1940, the year in which he began working with the glassworks, the painter Martens had devised the first glass tessuti based on the in-terplay of twisted canes, but it was only from 1951 that he began to propose patterns of trelliswork or patchwork. In these vases of unusual freshness, the trelliswork of the canes, variously coloured and twisted differently, were constructed without any regularity, to the extent that the pattern seemed the result of a whim on the part of a master glassworker who had randomly distributed the elements of the composition at the time of execution. This would be a mistaken impression because Dino Martens planned every detail in his works, as is confirmed by the perfect correspondence between the pieces we still have and the associated ‘executive’ designs, to which the painter often attached samples of

60 61

[10] P. Venini, Venini Glassworks, Zanfirico mosaico vase, 1954. Private collection

[11] D. Martens, Aureliano Toso Glassworks, Fermento vase, 1952. Courtesy Marc Heiremans

the canes he desired.18 Paolo Venini clearly drew inspiration from the pieces of the Aureliano Toso glassworks but developed a collection of a very different kind. His vases were bicoloured and the wall of crystal or coloured glass was traversed by a pattern of identical canes with rigorously white twisted threads which had an extraordinary graphic impact. These results are an excellent embodiment of Italian design combined with the tradition of Italian craftsmanship, while the vague chromaticisms and the warp of the Zanfirici of Dino Martens had more in common with abstract art in Venice in the post-War period.19 Amidst all the vitality of the 1950s, the best glassworks never failed to check on the production of the others, always on the lookout for ideas for their own collections, while at the same time remaining consistent with their own style. In 1952, for example, vases characterized by holes going centrally or laterally through the body enjoyed an enormous success and at the Biennale visitors saw the Forati of Bianconi for Venini, the Anse volanti of Giorgio Ferro for AVEM and the perforated Zanfirici of Dino Martens, to whom probably credit is due for the invention, which can be first placed in 1934.20 Every-one, however, interpreted the theme in an original way. In the course of its history it was the Venini glassworks which, more than others, stimulated competition and above all provided ideas for renewal to the smaller glassworks that could not count on avant-garde designers or great masters: a phe-nomenon that, with other protagonists and other emulators, had been occurring in Murano since the Renaissance.

1 P. Chiesa, Vetri incisi a Venezia, in Domus , 56, August 1932, p. 478. R. Barovier Mentasti, Il vetro veneziano, Milan, 1982, p. 268, ph. 278. M. Barovier, R. Barovier Mentasti, A. Dorigato (ed.), Il vetro di Murano alle Biennali 1895–1972, Milan, 1995, pp. 245–246.

2 G. Sarpellon, Miniature di Vetro. Murrine 1838–1924, Venice 1990, pp. 111–118, nos. 797–900. Fragile. Murano, chefs-d’œuvre de verre de la Renaissance au XXI� siècle, Paris, 2013, nos. 99–101.

3 M. Barovier, R. Barovier Mentasti, A. Dorigato (eds.), Il vetro di Murano..., op. cit.,1995, pp. 132, 246. Gli artisti di Venini. Per una storia del vetro d’arte veneziano, Alessandro Bettagno, Milan, 1996, p. 18. Emma Lanci, formerly Paolo Venini’s personal secretary, in-terviewed in 1991 and 1995, had a very clear and detailed memory of the Venini production from the 1930s to the 1960s. She had no hesitation in attributing the Murrine romane to Paolo Venini. They were afterwards attributed to a collaboration between Paolo Venini and Carlo Scarpa. Cf. M. Barovier (ed.), Carlo Scarpa. I vetri di un architetto, Milan, 1997, pp. 116–117, 208, 235–236, 272–273. M. Barovier, Carlo Scarpa. Venini 1932–1947, Milan, 2012, pp. 162–179.

4 Il vetro di Murano alle Biennali 1995, p. 246. Gli artisti di Venini 1996, pp. 19, 91, 188.

5 M. Heiremans, Seguso Vetri d’Arte. Glass objects from Murano (1932–1973), Stuttgart, 2014, pp. 96, 232–233, 305.

6 L. Zecchin, Vetro e vetrai di Murano, Vol I, Venice, 1987, pp. 212–213. L. Zecchin, Vetro e vetrai di Murano, Vol. II, Venice, \1989, pp. 182–184, 186–187.

7 U. Franzoi (ed.), I vetri di Archimede Seguso, Venice 1991, p. 126, no. 122.

8 Ibid. pp. 31, 66, n. 5 M. Heiremans, Seguso Vetri d’Arte…, op. cit., pp. 96–99, 190–191, 301.

9 Annali della scuola friulana, Provveditorato agli Studi di Udine, I, 1947–48, p. 225. At the age of more than eighty years, Giuseppe Barovier (1853–1942), in an interview, had referred to the patent obtained on 24 April 1886, patent awarded by the Chamber of Com-merce, no. 3264.

10 Esposizione di vetri artistici ed oggetti affini di Murano e Venezia, Venice, 1895, pp. 7–15.

11 V. Querél, Modernità e sintesi nel vetro di Murano, in Rassegna della istruzione artistica X, July 1932, pp. 206–210. Querél insisted: ‘Glass, to triumph again, did not need to change in character. It had to become transfigured in its form, but its essential qualities of lightness and transparency had to remain’.

12 Il vetro italiano a Milano 1906–1968. Tra creatività e proget-tazione, Milano, 1998, pp. 48, 183, no. 70, op. cit, p. 191, no. 008. Nel 1995 Alfredo Barbini had a very clear memory of his collaboration with Flavio Poli and was portrayed in the company of the present writer while drawing with great precision the Seguso glass pieces derived from the Martinuzzi models on the floor of his furnace. Cf.: R. Barovier (ed.), Maestri vetrai creatori di Murano del ‘900, Milan, 1995, photograph p. 105.

13 U. Franzoi (ed.), I vetri di Archimede..., op. cit, pp. 40–41, 85–92, nos. 41, 47–58. M. Barovier, R. Barovier Mentasti, A. Dorigato (ed.) Il vetro di Murano…, op. cit., pp. 70, 163, 252, n. 91.

14 R. Barovier Mentasti, Fermenti spaziali a Murano, pp. 122–133, 228–232, in L. M. Barbero (ed.), Spazialismo. Arte astratta. Venezia 1950–1960, Venezia 1996, pp. 129, 231.

15 Il vetro di Murano alle Biennali 1995, p. 254. Gli artisti di Venini 1996, pp. 129, 198. Il vetro italiano a Milano 1998, pp. 206–207.

16 M. Barovier, R. Barovier Mentasti, A. Dorigato (ed.) Il vetro di Mu-rano…, op. cit., pp. 85, 177, 254. A. Bettagno (ed.), Gli artisti di Venini…, op. cit., pp. 128, 198. Il vetro italiano a Milano…, op. cit., p. 207.

17 M. Heiremans, Dino Martens. Muranese Glass Designer, Stutt-gart 1999, pp. 29–30, 64–65, 159.

18 In Murano an ‘executive’ design meant a life-size one given to the master glassmaker with a view to its production.

19 Other collections of Dino Martens, more than the Zanfirici, were close to Spatialism, the Oriente for example, even if as a painter he remained anchored in figurative art. In the 1950s the glassmakers of Murano were strongly influenced by Spatialism, which was a stimulus to go beyond the style of the 20th century.

20 M. Heiremans, Dino Martens…, op. cit., pp. 26, 61. R. Barovier Mentasti (ed.), Vetri dal Museo Salviati. Magiche trasparenze della donazione Tedeschi, Milano 2013, pp. 26, 73.

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PAOLO VENINI SETS HIS SIGHTS ON THE UNITED STATES: 1951–1959Howard J. Lockwood

For Paolo Venini the years following World War II were a challenging artistic departure from his pre-war years, a departure that would influence his merchandizing in the United States. Rather than re-liance on a lone artistic director for design ideas, Paolo Venini turned to visiting artists and designers for the post-War revitalization of his company. His friend Gio Ponti, and the graphic designer, Fulvio Bianconi, were the first to create post-War designs for Venini’s ever expanding catalog and the wide-ranging success of Bianconi validated this approach. Also, with the countries of post-War Europe concentrating on rebuilding their infrastructure, Venini saw the American market as the market with the greatest potential for his immediate success. He was correct. Between 1950 and 1953 the Italy at Work exhibition toured twelve major American muse-ums and was instrumental in introducing the work of both Bianconi and Ponti to the American public. [2] With the help of the House of Italian Handicrafts, an American importer of Italian design, Venini figurines and vases were offered for sale in every tour city and as a result, the name ‘Venini’ became synonymous with Italian glass. Soon, Venini would be sold in stores throughout the United States and American designers, Ken Scott and Charles Lin Tissot, would be added to the Venini roster of artists. In a short period of time, Paolo Venini had restored his company to its prewar eminence on Murano. Venini now became the most cre-ative glasshouse in the world.The first commercial offshoot of the Italy at Work exhibition was an extraordinary event held at Ma-cy’s, a New York City department store. In early 1951 Macy’s sent thirty buyers throughout Italy to find the best merchandise Italy had to offer and on September 10, 1951 opened its Italy-in-Macy’s fair. As an enticement to attend the event, a Venetian gondola, a room-sized model of the Vatican, and glass blowing demonstrations by Guglielmo Brusso, ‘reputed to be the most expert fashioner of such glass in the world’,1 were on display for the fifteen day event. Venini was well represented in the event and garnered a coveted display window, a window that con-tained some of the rarest and best examples Fulvio Bianconi ever made including several rare Con Macchie vases, a Bikini vase, and a Sirene sculpture. [1] The window also contained a Tyra Lundgren glass fish and two seashell wall hangings that were possibly designed by Ken Scott. Ken Scott (1918–1991), who was listed in an internal Venini document as having designed fish for Macy’s in 1951,2 [3] was born and raised in Fort Wayne, Indiana. In 1948, after attending New York City’s Parson’s School of Design, Scott was drawn to Paris by its flourishing fashion industry. By 1951

<[1] The Macy’s New York store window featuring the work of Bianconi. The designer of the sea shell clusters and fish could be Ken Scott. Venini’s Historical Archive, Murano (Venice)

[2] A dining room designed by Carlo Mollino with Venini vases on the wall as seen at the Italy at Work exhibition at The Rhode Island School of Design. Courtesy of The Rhode Island School of Design

[3] A page from the Venini Chronology; from the Lockwood Archives

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<[4] The first fish that Ken Scott designed. This fish was previously attributed to both Tyra Lundgren and Fulvio Bianconi, but the factory drawings indicate that the designer was Ken Scott. Private collection, Germany

<[5] Shell, Chrysler Museum of Art, Norfolk, VA, Gift of Sheri Sandler in memory of Sam and Reba Sandler

<[6] The Ken Scott fish in the display in the fashion part of the exhibition. Venini’s Historical Archive, Murano

[7] Glass pieces exhibited in New York at the Art in Contemporary Glass exhibition (1952), organised by Georg Jensen. Period photograph

[8] Advertisement for the Georg Jensen Show. Period photograph

he was becoming known as a fabric designer and had even designed a fabric for a New York fabric company, Quaintance, called ‘A Fish is a Fish is a Fish.’3 With the Macy’s show in the planning stage, it was probably decided that Scott would design a Venice oriented fashion display that would, naturally, include fish.4 [6] Paolo Venini invited Ken Scott into his factory to design and produce the fish. The first fish produced, possibility with the guidance of Paolo Venini or Fulvio Bianconi, [4] were not what Scott envisioned and probably were not included in the displays. Scott then went on to create additional fish and starfish; with their bold colors, they were true precur-sors of 1960s design. [5] Because the fish were made for the Macy’s exhibitions, they were not includ-ed in the Venini Red Catalog, Ludovico de Santillana, recognizing Ken Scott’s popularity as a fashion designer introduced the fish into the early 1960s catalog. The fish were illustrated in the July 1963 edition of Domus.Following Venini’s success at both Italy at Work and Macy’s, Georg Jensen, a NY design store, arranged a joint exhibition of Venini and Orrefors glass. The exhibition opened March 5,1952 with 250 pieces of glass, 150 by Venini. Venini chose very traditional and conservative vases in the Tessuto, Fazzoletto and Filigrana techniques and Bianconi’s modern Forato series. [7-9] It appears that the figurines and the Pezzato series were excluded. This was an exhibition not for the masses but for the society people of New York City. The show was reviewed in multiple newspapers with the Herald Tribune reporting ‘Paolo Venini is a master of the art of blowing glass who delights in fanciful shapes and colors…. This artist’s inventiveness appears in vases blown into curves to give the illusion of the human body.’5 Though Orrefors gave design credit to both Edvard Hald and Sven Palmquist, Paolo Venini did not share design credit.6 Paolo Venini, with his daughter Laura acting as an interpreter, actually visited New York City to mount the display and attend the opening.7 They then travelled to Toronto, Canada where an exhibition/sale of Venini glass opened at Eaton’s Department Store on March 18, 1952.Paolo Venini exhibited at a second Georg Jensen exhibition/sale that opened on March 23, 1955. The Designers Exhibition of Glass, was a juried exhibit of the best glass of the post-War years and sixty well-known glass designers and glass houses were asked to make submissions. Edgar J. Kaufmann, the former director of the Museum of Modern Art’s Design Project, chose the best. ‘Ninety-two objects were chosen on the basis of skillful use of the material and successful exploitation of the elements of form, color, texture and light. It is hoped that these works will stimulate new interest in glass, and indicate to other designers the possibilities inherent in this flexible, variable medium’.8 It was a Euro-pean who’s who of glass makers. Italy was represented by Angelo and Ercole Barovier, Scarpa Croce, Giorgio Ferro, Dino Martens, Flavio Poli, Gio Ponti, Ezio Rizzetto, and Paolo Venini. Other designers included Timo Sarpaneva, Kaj Franck, and Nils Landberg. Kaufman chose three Venini items for the exhibition — a red and green fasce orizzontali bottle [Venini no. 4315], a white zanfirico vase, [Venini no. 3844] and a red and blue bottle [Venini no. 4492] designed by Gio Ponti. The exhibit, renamed Eu-ropean Glass Design, became the basis of a Smithsonian Institution’s travelling exhibit. From October 1956 to September 1958 it travelled to smaller cities throughout the United States.9 The Venini bottle [Venini no. 4315] was mentioned in a Toledo, Ohio review: ‘A red and green bottle, for example, disguises rather than enhances the qualities of the medium and the elaborate tortured shapes do not bring out the liquid flowing properties of glass.’10 [10]Also, in 1955 a second New York City exhibition featured Venini glass this time designed by Charles Lin Tissot. Tissot (1904–1994) was from Mason City, Iowa and by 1955 was an established designer with an interesting history. In 1950 he was asked by Steuben Glass to design an exhibition of Steuben glass. This exhibition introduced Tissot to the work of Steuben’s designer George Thompson and also led Tissot to a commission to decorate the private dining room of the SS United States, a ship that was destined to be the world’s largest and fastest ocean liner. For that commission, he created etched glass panels. After he finished the commission, he went to Venice for a six week vacation and while in Venice became re-enamoured with the design possibilities of glass. He also met Paolo Venini.11

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<[9] Glass pieces exhibited in New York at the Art in Contemporary Glass exhibition (1952), organised by Georg Jensen. Period photograph

<[10] Gio Ponti bottle (far left) in the European Glass Design show. Courtesy MIT Museum

[11] Steuben glass designed by George Thompson in the late 1940s. Gift of Steuben Glass Inc. Collection of The Corning Museum of Glass, Corning, New York

[12] Glass designed by Tissot for Venini in 1955. Private collection

When Tissot returned to New York City he looked for new opportunities and approached Bonniers, a high-end design store. ‘I went to them with the idea of the vases.’12 According to Craft Horizon, ‘he returned to Venice and went straight to the famed Venetian glass-maker, Paolo Venini, to ask if he might try designing modern glass, putting to use in a new way some ancient techniques with which Venini’s craftsmen were already familiar. Venini complied wholeheartedly, inviting Tissot to come into his workshops to try out his ideas.’13 Tis-sot said that he was at the factory for less than a year and that he basically did the designs and then hired the factory to execute them.14 All of the glass was produced exclusively for Bonniers and Tissot received all design credit. His designs for Venini were not intended for and were not included in the Venini Red Catalogue. In 1955 his line of vases and goblets made their debut and most had a Tissot’s design ‘signature;’ a spiral of colored glass inside the clear stem of the object. It appears that Tissot’s inspiration for his spirals were the George Thompson goblets he had worked with in the 1950 Steuben show. [11, 12]Tissot returned to Murano three more times. In late 1957 or 1958 he created a chess set and ‘a series of hourglasses commissioned by Bonniers ... [that] illustrates the individuality he [Tissot] gives to all of his works. Each hourglass is different in not only shape and color but also in the sand which came from Fontainebleau and is tinted in subtle, fresco like colors.’15 [14, 15]Tissot returned to Murano, this time to Seguso Vetri d’Arte, to create glass bird cages for a December 1959 show at Bonniers and in 1961 to created glass gardens for Tiffany & Co.Paolo Venini’s and Lin Tissot’s partnership was not a successful partnership. In an interview Tissot said Paolo Venini ‘was a pleasant person who didn’t know about design’ and wanted to take credit for everything. Tissot did like Ginette Gignous and ‘felt she had the taste.’16 Massimo Vignelli, who was working in the factory at the same time as Tissot, said that ‘there was a tall person, Lin Tissot. He was doing things in a language totally alien to Venini…. a kind of look which was not Venini’s style.... fili-gree, very decorative, pleasant. I cannot say that they were bad. Nice glasses, filigree things inside... but not what Venini would do.’17

As the 1950s came to a close, there was one last major event in the American glass world, Glass 1959, a juried exhibition sponsored by the Corning Museum of Glass. This was an all-encompassing world-wide aggregation of glass. The jury consisted of Gio Ponti and Edgar Kaufman, Leslie Cheek (director of the Virginia Museum of Fine Arts), George Nakashima (furniture designer) and Russell Lymes (edi-tor of Harper’s Magazine). Reaching out to designers and glasshouses throughout the world, Corning received 1796 entries from twenty-three countries. Each juror chose their own ‘top 100’ and, since some pieces were chosen by multiple jurors, only 228 items were selected. The staff of the Corning Museum of Glass chose an additional sixty-four items.18 Venini was well rep-resented with ten examples chosen by the jurors (three stoppered bottles, a battuto bowl, four inciso vases, and two Vignelli shades) and a murrine vase by the Museum staff. Nine of the Venini pieces were chosen by more than one juror and ironically, the rarest vase, the murrine vase designed by Paolo Venini, was not chosen by any juror but by the museum staff. [13] Venini glass received positive comments from the jurors and the press. Dido Smith reported in Craft Horizon that the ‘Northern influence seems most strong in Paolo Venini’s new use of engraving for a striated surface, an exteri-or translucence which mists their pale lavender, blue, or yellow, and underscores the solidity of the full-bodied pieces. Still evident, however, is his fondness for overlaying bright bands or stripes or incorporating col-ored glass threads in simple shapes.’19 Other Murano designers represented in the show were Ercole Barovier (two examples), Angelo Barovier (one example) Barovier, Flavio Poli (six examples), Archimede Seguso (one example), and Dino Martens (two examples) and the exhibition travelled to The Metropol-itan Museum of Art, The Art Institute of Chicago, The Toledo Museum, and the Richmond Museum of Fine Arts. Paolo Venini died in July 1959. He left a legacy of creating and building one of the greatest glass houses of the 20th century and one of the greatest ever in Murano. After his death there was

68 69[15] Charles Lin Tissot from Interior Design Magazine, December 1958, p.152

1 ‘Italian Fair Here Opened by Mayor’, in New York Times, 14 Sep-tember 1951. The opening of the Fair was broadcast live to Italy by Voice of America. ‘Italy-in-Macy’s Fair will open Tomorrow’, in NY Herald Tribune, 9 September 1951. According to the 1960 Statistical Abstract of the United States, (p. 35), in 1950, 1.427.145 people living in the United States had been born in Italy and another 3,143,405 were first generation Italian-Americans, or 13.5 % of the ‘total foreign white stock.’ The days of inexpensive, quick transportation to Italy did not exist so seeing a gondola or a model of the Vatican would be something Italian-American’s could only reminisce or dream about seeing.

2 The document was part of a company chronology produced much later than 1951 and it contained two obvious errors: the ‘Alan Wright’ who visited Venini in 1951 was actually the great architect Frank Lloyd Wright and ‘Bergmann’ was actually the surrealist artist ‘Eugène Berman.’ Also, since there is no published record in any 1951 American publication linking Scott with Macy’s, did the typist or collator of the list make a mistake?

3 ‘A Fish is a Fish is a Fish’ was a fabric designed by Ken Scott for the fabric company Quaintance. A full page advertisement showing the fabric appeared in the September, 1951 issue of Interiors.

4 It is not known if there were similar fish displays throughout the store or if the display was used in other affiliated stores. ‘During the weeks from now to Christmas, many other stores across Ameri-ca will bring into their communities the new Italian products which they bought with us for their own customers’ tastes. This strong nation-wide project will find vivid expression in Macy’s affiliated stores in Newark, Atlanta, Toledo, Kansas City and San Francis-co. Other great stores … will introduce many of these Italian dis-coveries to their cities: Hartford, Baltimore, Washington, Pittsburgh, Youngstown, Akron, Cleveland, St. Louis, Omaha, Sioux City, Denver, Los Angeles and Portland Oregon.’ Advertisement in The New York Times, 9 September 1951, p. 12.

5 ‘Patterns in Glass Shown in Contrast,’ in NY Herald Tribune, 5 March1952, p. 26.

6 When I asked Massimo Vignelli about this practice, he related to me: ‘One day, I received a letter from a friend of mine in London say-ing that he was going to do a program on TV showing all the lamps that I did. That was how it was written in the letter, ‘To show your lamps.’ So I went to Venini with the letter. So Venini got immediately upset because, says he, `that you have to remember that there is no such thing like your lamps. There are Venini lamps and not Vignelli lamps. As a matter of fact, if you haven’t understood these things, you are fired, it means you really don’t belong here and it would be great if you don’t come back.’ Obviously, he was not fired and Paolo Venini went on to be Massimo’s best man at his wedding.’ From a 1990s interview by the author with Massimo Vignelli and Laura Hillyer.

7 Paolo Venini’s daughter, Laura, accompanied Paolo to act as his interpreter. While in New York, Laura met her future husband, Stanley Hillyer, whose mother, Dorothy Hancock Hillyer, was the second wife of Giorgio de Santillana, Ludovico’s father. Stanley and Laura married in Venice, and moved, permanently to the United States. NY Times, 3 May 1954, p. 22.

8 From ‘Suggested Press Release’ of the Smithsonian Institution which also stated: ‘The Italian pieces are distinctive for their bold color and unusual form. Architect-designer Gio Ponti is represent-ed by two decanters in brilliant hues, along with Paolo Venini and Angelo and Ercole Barovier, leading manufacturers of contemporary glass in Murano, Italy…. Items similar to those shown in the exhibi-tion may be purchased in the United States through Georg Jensen, Inc., N.Y.’

9 Some of the cities visited were Worcester, Massachusetts, Cam-bridge, Massachusetts, Sarasota, Florida, Toledo Ohio, San Diego, California, Minneapolis, Minnesota, Grand Rapids, Michigan, Wichi-ta, Kansas, and the Royal Ontario Museum in Toronto, Canada.

10 L. Bruner, ‘European Glass Displays go on Display in Museum’, in Toledo Blade, 3 October 1956, p. 7. Two Ponti bottles were illustrated in the Boston Herald of 16 February 1928, p.13.

11 In a telephone interview with the author, 23 April 1991, Tissot stated he lived next door to Paolo Venini. In an article for the mag-azine Craft Horizon, Tissot also said that he was ‘appalled at Vene-tian glass - it had abandoned the old things that were sound and good without making any great effort to replace them with modern designs, even though the craftsmanship was all there.’ An American Designs in Venice, Craft Horizon Magazine, January–February 1956, pp. 20–21.

12 Telephone interview with the author, 23 April 1991.

13 ‘An American Designs in Venice,’ in Craft Horizon, January– February 1956, pp. 20–21.

14 Telephone interview with the author, 23 April 1991.

15 ‘Designs in Glass’, in Interior Design Magazine, December 1958, p. 152.

16 Telephone interview with the author, 23 April 1991.

17 Massimo Vignelli and Laura Hillyer interview with the author, May 1989.

18 D. Smith, ‘Glass Critics’ Choice, in Craft Horizon, September– October 1959, p. 35.

19 Ibid.

[13] The murrine vase, model n. 3608 that was exhibited in Glass 1959. Gift of Venini. Collection of The Corning Museum of Glass, Corning, New York.

[14] Hourglass designed by Tissot. Private collection, Montebelluna

one more event created by Paolo Venini, one that would far surpass the American legacy of both Ken Scott and Charles Tissot. It was the day that Thomas Stearns appeared on the doorstep of the factory to fulfill his Fulbright fellowship. Ludovico De Santillana was now in charge. One of the last things Paolo Venini had done was to accept the artist into the factory to design glass: if only he could have seen the results...

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<[1] T. Lundgren, Self-portrait in black tuxedo, Paris 1935, charcoal. Gotlands Museum, Sweden. Photograper Raymond Hejdström

[2] T. Lundgren, Line bird, Arabia, early 1930s, stoneware. Gotlands Museum, Sweden. Photograper Monica Elmshorn

TYRA LUNDGREN AND PAOLO VENINI:A SUCCESSFUL DESIGN COLLABORATIONMarika Bogren

Tyra Lundgren (1897–1979) was born into a bourgeois family in Djursholm, Stockholm. [1] From the age of five, she knew that she would become an artist and at sixteen she went to the Higher School of Art and Design. A few years later, she went to the Royal Academy of Fine Arts. She was educated in languages, travelled a lot and spoke Italian. She had four pivots around which her life and work turned: Sweden, Finland, France and Italy. From the early 1920s she worked in the porcelain industry and the glass industry in different countries.Functionalism as a movement and an ideology in Sweden was led by the Swedish Society of Crafts and Design and its chairman Gregor Paulsson. In 1919, he published the book Vackrare vardagsvara and the aesthetic ideals directly influenced the crafts field and industrial design for many decades to come.1 The typical Swedish ‘simplicity’ derives from this time and has since become a hallmark, which inspired terms such as Swedish Modern and Scandinavian Design. Not all artists and designers were impressed by the politics of functionalism. They argued that other, more classical expressions could be just as modern as the aforesaid orthodox ideals. The concept of Swedish Grace was expressed by the art critic Morton Shand in connection with the Stockholm Exhibition in 1930. He and Tyra Lundgren met later in London 1938.Tyra Lundgren covered many of the functionalist ideas, but was educated in classicism. She had a great interest in traditional craft methods and made the necessary efforts to get acquainted with the materials and techniques. Her ideas had more in common with those in France or in England at the time, with roots in the Arts and Crafts Movement. She was very much a handicraft person. Her early style was Art Déco, but it became more naturalistic in the 1940s. This background is important to un-derstand, because it explains why Tyra Lundgren chose certain collaborators throughout her career.Tyra Lundgren’s first trip to Italy took place in October 1927. She was then working at the Arabia factory as the artistic leader, with the mission to redesign old porcelain models and develop new tableware. [2] In her diary, she declares that she is ‘tired of drawing coffee mugs’ and that she has decided to use her savings for a couple of years of painting in Rome.2

In Rome, she immediately came into contact with the circle around the art journal Valori Plastici. It was led by the artist and editor Mario Broglio, with whom she became involved in a love affair that lasted until 1932. The two of them lived, somewhat turbulently, in her studio in Paris for a couple of years. During that time he was also married to the artist, Edita Walterowna.The artist collective included, among others, Giorgio Morandi, Giorgio de Chirico and Carlo Carrà. Tyra Lundgren socialized with Roberto Longhi and his wife, art historian Lucia Lopresti.3 Lundgren was one

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[3] T. Lundgren, Glass models for Venini, 1938. Blue Catalogue

[4] T. Lundgren, Glass models for Venini, 1938. Blue Catalogue

[4] T. Lundgren, Leaf bowls, Venini, 1937–38. Jacksons.se, Stockholm

[5] T. Lundgren, Line bird, Venini, 1936. Modernity, Stockholm

[6] Page from an article in the art journal, Domus, January 1940

of the few women who managed to become a core member of the group, which often met at the Caffè Aragno. She also wrote articles about the Italian art scene for Swedish magazines and art journals. In close proximity to the group was Gio Ponti, the founder of the art journal Domus. The architect would become an important friend of Tyra Lundgren. She was the main reason for his getting into the art field world of Stockholm in the 1950s. The designer Pietro Chiesa also became an important friend, as did Carlo Scarpa.Establishing beneficial networks and benefit from them was one of Tyra Lundgren’s strongest abilities. She was extremely important for connections between the various actors in the European art world during the first decades of the 20th-century, not least in relation to Paolo Venini.During her time in Italy, Tyra Lundgren participated in the Biennale in Venice, not only as an artist but also as an art critic. She reported to Swedish art journals, such as Konstrevy.4 She also exhibited reg-ularly in the Triennale in Milan and wrote for the journal Form, the organ of Swedish Society of Crafts and Design. In 1934, she wrote an article about Paolo Venini’s contribution to the Triennale in 1933.5

Paolo Venini and Tyra Lundgren first met during the Milan Triennale in 1936. They took an immediate liking to each other and he invited her to Murano, where she got to work with his best maestro, Arturo Biasutto, called Boboli. She became the first female designer in the factory. She mentioned the meet-ing in an exhibition catalogue of 1978, where she describes her memories of almost 40 years earlier.6 They had corresponded a while before the first meeting. At that time, Tyra Lundgren was a well estab-lished artist, who held exhibitions and had important connections in many countries. She commuted weekly between France, Italy, Finland and Sweden. In 1936, in the Swedish journal Form, she stressed the importance of the Venini company and praised Paolo Venini for his management.7 She would write many similar articles in the years to come.8 In the diary from Paris in May 1937, she wrote:‘On Saturday, I happened to meet Venini, first at Ramsay´s, then at the Expo. And later on the Deux Magots. Monday, we all met at the Italian pavilion, Venini, Ponti, Chiesa, Pulizer etc. ... Then on Tuesday I had lunch with Chiesa, then I saw V. He was at my place in the afternoon, and we had dinner together, then I followed him to the train. I like him so terribly much. It really hurts me when he leaves, despite the knowledge that I have no right over him at all.’ In September 1937, Tyra was in Murano designing a glass collection, working together with the glass blowers. They became ‘lovely friends’ she wrote in her diary. Tyra stayed at the Lido next to the Veninis and when they went travelling, she lived in their house on the beach.In 1983, the art historian Marianne Uggla did a review of the merits of Tyra Lundgren’s glass activity, in which she carefully mapped out all the forms and objects produced for Venini.9

In Venini´s Blue Catalogue, plates and bowls with leaf shapes, birds, fishes and eels are included.10 [3,4] In 1939, six snakes were made, but they did not come into production. Paolo Venini hated snakes. Two of them are now in the collections of the Gotland Museum, one belongs to the Nationalmuseum in Stockholm, and a fourth to Smålands Museum.11 I have not managed to track the other two in my research so far.Tyra Lundgren and Arturo Biasutto also developed new techniques. One of them was developed in 1937. They re-used the filigree straws and melted them into a glass with a streaked appearance, re-sembling cloth: the so-called tessuto glass. [5] For larger leaf shapes Valmarana was the glass blower, because of the physical strength needed. The most common techniques for the Tyra Lundgren objects were corroso, sommerso and filo buttato, also often iridescent. [6, 7]During the early 1940s, Tyra Lundgren had created handkerchief-shaped bowls of pottery in her studio at the Gustavsberg Porcelain Factory. [8] They were made in chamotte, partly opaque glazed, and with the same wavy expression as glass bowls produced at Venini.12 In 1943, they were mentioned in the magazine Svenska Hem i Ord och Bilder, in connection with her exhibition at Nordiska Kompaniet. The author Nils Palmgren wrote: ‘In these objects, Tyra Lundgren has once again achieved an artistically consummate solution. Such ceramic objects have no models to refer to, either in the past or in the present. Throughout, they represent personal invention and personal skill performance. Mastery of

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[8] T. Lundgren, Leaf bowl, Gustavsberg Porcelain Factory, 1940s, stoneware, partly glazed. Courtesy of Nationalmuseum, Stockholm

[9] T. Lundgren, Estrid Ericson Wearing a Shawl, 1923, oil on canvas. Estrid was the founder of Svenskt Tenn, Stockholm. NKM/Per Myrehed, Sweden

the medium and elegance are totally combined.’13

Whether it was Tyra Lundgren and Paolo Venini who developed this form between them, during the late 1930s in the glass factory, is something that needs further research. The pleated filigree bowls are at-tributed to Paolo Venini, but Tyra Lundgren claims that the idea evolved when she saw a handkerchief fall, which was her inspiration for the form. These forms were later developed in the 1950s by Fulvio Bianconi, who designed them into the most stunning explosions of colour.

VENINI’S CONTACTS WITH SWEDEN

The Swedish Pewter Company (Firma Svenskt Tenn)Estrid Ericson, founder of the fashionable furnishing store and pewter shop, The Swedish Pewter Company, in 1924, was a fellow student with Tyra Lundgren and they remained friends for life. [9] They often travelled to Italy, looking for exciting art objects to sell in the store in Stockholm. Among other things, Estrid had copies made of objects from the Glass Museum on Murano. The firm collaborated from 1934 with Josef Frank, who in 1939 was the designer of a series of glass tableware pieces made at Venini’s. On 29 November 1938, the firm invited the public to the opening of the exhibition Glass from Venini. And there were more shows to come in the following decades. [10] The interior store is still one of the most important in Sweden.

A / B Nordic CompanyThe largest Swedish department store, Nordiska Kompaniet (NK), was founded in 1902. During the 1940s, NK was an important venue for exhibitions of art and design. Tyra Lundgren exhibited in 1935, 1938, 1940 and 1943 in the Light Garden gallery. Also her exhibition in January 1950 contained glass from Venini. The head of exhibitions during the period 1945–47 was Monica Morales Schildt, who came to have a special significance for Paolo Venini. She was married to Göran Schildt, and lived from time to time in Venice. The couple had a sailing boat and Venini often joined them at sea. They also exhibited together at NK.In November 1950 King Gustav V was buried in Stockholm. At the same time a Venini exhibition was being held at NK. The Crown Prince Gustav VI Adolf was so interested in Venini glass that the members of the funeral procession went to the exhibition just before the funeral that day. Eyewitnesses talked about the ‘black figures and fluttering crape moving around the Italian glass objects’.14

Nationalmuseum StockholmIn the Nationalmuseum, and in Röhsska Museet in Gothenburg, an exhibition of Italian lace and glass was held in 1943. In a report on the show Tyra Lundgren wrote about the ‘men behind the work’ and highlighted the importance of Pietro Chiesa, who was the exhibition curator.15 Gio Ponti and Paolo Ve-nini were also mentioned, along with Chiesa, as the ‘three musketeers’ of Italian design. The article is a celebration of the artists at Venini’s. And about Venini she writes: ‘Venini’s strength lies — except for his rare and charming personality — in his uncompromising artistic standards, his extraordinary capacity for renewal and his good organizational and business talent.’Also in Finland, Venini attracted attention in a series of exhibitions, which were led by Aino Aalto and Maire Gullichsen. In 1938, there was an initial exhibition in the Artek gallery, then in the Aalto show-room, and several exhibitions were to come in the 1950s.

TYRA LUNDGREN AND HER PRODUCTION FOR DIFFERENT GLASSWORKS

Ludwig Moser und Söhne, Karlsbad, BohemiaIn the Nationalmuseum collections, there are three pieces by Tyra Lundgren, manufactured in the Bo-hemian glassworks. There are two engraved crystal wine glasses and a large, yellow-toned vase with engraving. She worked there 1922–23 and in 1928 and designed and modernised great amounts of tableware goods, such as pitchers.

Riihimäki Lasi Oy, FinlandTyra Lundgren worked as a designer in 1924 and later in periods as a freelancer until 1929, and again in the early 1930s.[11] She designed glass windows, but also everyday tableware, carafes and thick-walled bowls. One of the tableware models is called Tyra. It is available in eight varieties of wine glass-es and four water glasses. These were in production until 1967.

Kosta, SwedenIn 1943, the Swedish art critic Erik Wettergren mentioned Tyra Lundgren and her works for Kosta in his book Contemporary Swedish glass. Development. Technique. Form and he highlighted her vase with a fish in relief against a sandblasted base. Lundgren worked with Kosta in 1934–38, but she was rarely in the factory. Instead, she sent sketches from Paris, where she lived at the time. She made thick-walled bowls and vases with fishes and women.

VeniniThe collaboration with Paolo Venini began in 1936 and continued until 1939, when the war prevented further activities for some years. They resumed cooperation in 1947 and onwards.

Reijmyre Glasbruk, SwedenIn 1959, the first contact with the Reijmyre glassworks was established. It was a short and intensive collaboration for the company´s 150-year anniversary in 1960. Many objects were made and a large number of sketches remain. The production has many Italian references, and reminds one to some ex-tent of what she had worked with at Venini. It is no coincidence. The brothers Joseph and Benito Mar-colin worked in the factory from 1957–1961, and also Germano Padoan, all three of them glassblowers from Venice. [12] The Marcolins later founded the glass company FÄRE Marcolin (FM) in Sweden.

[10] T. Lundgren, glass vase, Riihimäen Lasi, early 1930s. Domus, 83, November 1934, p.21

[11] T. Lundgren, glass vases, Reijmyre Glass Factory, 1960. Gotlands Museum, Sweden. Photograper Karl Melander

76 77[12] Venini exhibition at Svenskt Tenn in 1938. Photo: Svenskt Tenn archives, Sweden

TYRA LUNDGREN’S OWN WORDS ABOUT MEETING WITH PAOLO VENINI

From the exhibition catalogue Ett liv i konst, Royal Academy of Fine Arts, Stockholm, 1978‘My glass creation came into its most interesting phase, when, one evening at the Biennale in Venice, I ran into an officer dressed in dazzling white and gold, who invited me for a tour in a gondola on Venice's dark, sparkling water. It was Paolo Venini, the Italian glass innovator in Murano, whom I had hitherto not seen but had previously corresponded with. We became friends and he said: “Come and try my glassworks in Murano. You can borrow my best maestro, Boboli. You know quite a lot about glassmaking.” Thus began our cooperation in glass and the very next day I was at the furnace and started experimenting, really just for fun. I came with fresh eyes and my imagination for the materials and I invented all sorts of objects. I am proud that some “quirks” of mine have been written into the history of Murano. We took, for example, the leftover stub ends of filigree that were always discarded and melted them together into streaks. I called it tessuto — woven. We used it for leaf bowls and for birds. Leaf shapes were a completely new invention, to which Boboli devoted the most exclusive technology. We used white filigree straws as nerves in the leaves. We made dove forms with many layers of different shimmering masses. I threw a handful of white glass pearls into the black, glowing glass mass, which was intermittently blown out to fish forms. We also made a series of snakes, something which had never been done before. Only a few pieces were made because Venini came and said: “Stop it, Tyra, snakes are the worst things I know!” Venini is probably the finest glassmaker I have ever known. All production was screened by his prestigious taste, innovative ambition and understanding for glass. It is a mistake to think that he himself designed glass. But the importance of his work can be measured from the fact that, after his death, Venetian glassmaking seems to be at a standstill.’

From Diary: June 1925‘Having spent most of the time on the train to and from Riihimäki and also at the furnace, near the fire, I wish with so much passion to become a glassblower when I see their technical skills, their ab-solute insistence on taste and their ability to consciously stop just as the shape is as beautiful as it can be. I myself dream of the skills of glass blowing and of conjuring the glass into the most magic art of bubbles.’

1 G. Paulsson, Vackrare vardagsvara, 1919.

2 Diary note, 1927.

3 Lucia Lopresti Longhi/Anna Banti, the first Italian art historian to write about Artemisia Gentileschi.

4 T. Lundgren , ‘Italiensk utställningskrönika – Triennalen och Bien-nalen’, in Konstrevy, 5, 1936.

5 T. Lundgren, ‘Den italienska konstindustrien i samband med Tri-ennalen i Milano’, in Form, 1, 1934.

6 See Appendix.

7 T. Lundgren, ‘Den internationella triennalen i Milano 1936’, in Form, 2, 1937.

8 T. Lundgren, ‘Paolo Venini i Murano’ in Form, 2, 1940; T. Lundgren, ‘Mina venetianska glasblåsare’, in Svenska Dagbladet, 1941-12-28, unpublished manuscript: ‘Paolo Venini det venezianska glasets förnyare’, archives.

9 M. Uggla, Tyra Lundgren – en översikt över hennes konstnärliga verksamhet samt en studie i hennes glxaskonst, unpublished thesis,

History Department of the University of Stockholm, 1983.

10 In the Venini production catalogue, Blue Catalogue, 1936–38 there are the following references to Tyra Lundgren: 4118, 2601, 2603, 2604, 2606–2607, 2624–2636, 2638, 2640–2647, 2663–2675 a e b, 2676–2678 a e b, 2679 a e b, 2680–2681, 2683, 2685–2700, 2801, 3691. Regarding collaboration in the 1940s and ’50s, see the Red Catalogue: 3861– 3864, 2951, 2954.

11 Smålands Museum, Inventory number M 22716.

12 Nationalmuseum, Inventory number: NMGu 10993, NMGu 11100.

13 Nils Palmgren, Tyra Lundgren och den elektriska ugnen, in Svenska Hem i Ord och Bilder, 3, 1943, p. 75.

14 H. Hedqvist, NK – en hundraåring som tappat sitt ursprung, in ‘Svenska Dagbladet’, 13 January 2002, http://www.svd.se/nk-en-hundraaring-som-tappat-sitt-ursprung.

15 T. Lundgren, Männen bakom verket à propos den italienska ut-ställningen, in Svenska Hem i Ord och Bilder, 6, 1943, pp. 131–135 and T. Lundgren, ‘Det moderna italienska glaset – om utställningar-na i Röhsska och Nationalmuseum’, in Form, 6, 1943.

78 79

THE CERAMIC INVENTIONS OF GIO PONTI, AT THE THIN EDGE OF IRONY AMONG HANDS, BOTTLES AND CRINOLINEValerio Terraroli

‘It would be dangerous, for an artistic industry like ceramics, to believe only in what is on show at the Exhibitions. True modern art has certainly never been confined to an enclosure. An exhibition, that log-jam of representative forms, is a suspect phenomenon when it comes to judging the type of pro-duction that determines contemporary style. It does not just contain results, faithful witnesses to our technique, our practices and our customs. It contains everything: the true and the false, the real and the fictitious, in arbitrary and haphazard proportions.’1 These affirmations, as appropriate now as ever before, are those of the architect, Gio Ponti, then artistic director of the Richard-Ginori manufacturing firm, in an essay discussing ceramic production on the occasion of the Italian participation in the Paris Exhibition of 1925, an event which established the signature style of Art Déco worldwide. In his criti-cal article, Ponti defines at least three fundamental concepts regarding the complicated relationship between the decorative arts and industrial production in the Interwar years: the urgent need for Italy to transfer production and marketing from the purely craft level to the industrial one, the essential role of exhibitions in disseminating and extending public acceptance of it and, finally, the idea of style that must find expression in those various functional objects which are so deeply a part of, and are sustained by, everyday life. Ceramics — but also glass, seen as ductile, economic materials suitable for both artistic and industrial production — was therefore taken as a touchstone both for evaluating and for promoting the true modernity of an artistic language, or rather, style, understood as being an organic set of aesthetic choices, practical functions and coherence of models.2

Graduating in 1919 from the Politecnico of Milan just after the end of World War I, in 1920 Gio Ponti entered into a partnership with Emilio Lancia and Lino Fiocchi and at the same time started to de-vote himself to the decorative arts through the good offices of the engineer, Guido Semenza, and of his future father-in-law, Carlo Vimercati, both members of the board of Richard-Ginori. This was one of the most important Italian producers of ceramics, whose owner, Augusto Richard, also in about 1920, decided to unite the artistic management of the different manufacturing sites with the pur-pose of completely renewing the production catalogue.3 In this year, Ponti started to frequent the San Cristoforo site and, commissioned by Richard, very probably in 1922, commenced an intense activity as designer responsible for the entire production, both with regard to forms and to decorations. The management of design and execution took place through intensive and almost daily correspondence between his own office, located in the San Cristoforo factory, and Luigi Tazzini, who was in charge of the laboratories and production at the Doccia plant, and was punctuated by a visit, one week every month, to Sesto Fiorentino. The period between 1923, when Ponti presented an extraordinary pavilion

<[1] G. Ponti, Bottiglia in crinolina and piatto con le Vittorie littorie, porcelain, a Richard-Ginori production, in Domus, June 1935, p. 43

80 81

<[2] G. Ponti and E. Diana, La mano di Dafne and La mano fiorita, porcelain and gold with agate-tipped decoration, a Richard-Ginori production, 1935. Richard-Ginori Museum, Doccia

<[3] G. Ponti, Mani e Bottiglie, porcelain, a Richard-Ginori production, in Domus, June 1935, p. 41

<[4] G. Gariboldi, Vaso globulare con roselline, porcelain, a Richard-Ginori production, 1935–37. Richard-Ginori Museum, Doccia

[5] G. Ponti and P. Melandri, Flaconi da profumo con figure femminili, lustre majolica, c. 1950. Private collection

[6] G. Gariboldi, Vaso-bottiglia con allegoria dell’Architettura, porcelain, a Richard-Ginori production, 1935–38. Luciano Colantonio Gallery

[7] G. Ponti, Bottiglia con crinolina, majolica, a production of the Cooperativa Ceramica of Imola, 1946. Museum of the Cooperativa Ceramica of Imola, Imola

[8] G. Ponti, Disegni per bottiglie, ink on paper, 1949–1950. Archives of the Cooperativa Ceramica of Imola, Imola

of ceramic products for Richard-Ginori at the 1st International Biennale of Decorative Arts of Monza, and 1930, when the architect handed over to Giovanni Gariboldi, represents the most creative, innova-tive and organic phase in the decorative arts in Italy, with regard also to the design of prototypes that would find full expression on the occasion of the various Milan Triennali, which had arisen out of the Monza experience.4 In addition to the architectural, interior-design and design projects he carried out for the Richard-Ginori and Christofle firms, the organisation of the Il Labirinto company 5 and the pro-duction of ‘Domus Nova’ furnishings for La Rinascente, Ponti, following a suggestion by Ugo Ojetti, one of the great movers both in the Biennali of Monza and the I.S.I.A. [Higher Institute for Industrial Art],6 consolidated his position as master in the invention of a ‘modern Italian style’ with the creation of the magazine Domus, first published in January 1928. The explicit purpose of Domus, from its first issue, was to enhance the dignity of the decorative arts as fundamental and integral elements in modern architecture, not only with regard to high-quality design products, but also popular traditions, ethnic productions, the rustic craftwork of the ‘pezzotti’ (patchwork carpets) of the Valtellina, together with the celebration of the Murano filigrees revisited by the modern glasswork laboratories of Cappellin and Venini.7 ‘Murano, to return to a typical and highly successful example, has pursued two paths in its modern productions: the best Murano furnaces — and everyone knows which ones I mean — first developed, with characteristically modern sensitivity, those typical blown-glass forms and now, in a purely artistic, quality-oriented and technical movement (a phenomenon that on other occasions I have described as a truly most interesting “art phenomenon”) they are presenting glass pieces that are far removed from the “Murano” genre, which go out on their own, which are an unprecedented kind of Murano, but of such a greatly superior quality and beauty as to constitute an entirely new category, a new glass artefact, which is — and this is important — unmistakeable and different from the other productions on the international market’.8 Ponti operated with exceptional inventive ability on several levels, creating unusual combinations between popular culture and aristocratic refinements, between highly developed craftsmanship and industrial production, between explicit references to the unsur-passed elegance of the Wiener Werkstätte and a certain kind of German ceramic production (in par-ticular Gerhard Schliepstein for Rosenthal) and ‘ethnic’ Italian ceramics, from Mario Gambone (Vietri) to Cosimo Fancello and Melchiorre Melis (Sardinia). The constant comparisons with the innovations of Guido Andloviz, designer for the Società Ceramica Italiana (S.C.I.) of Laveno, dedicated to produc-tion, in an elegant and perky style allied to Art Déco, for the middle and lower bourgeois classes, the commitment to Il Labirinto and the resulting relations with Buzzi, Lancia, Marelli, Chiesa and Venini, the Paris success of the Richard-Ginori productions in 1925, repeated at the international exhibitions in the Villa Reale of Monza, prompted Ponti to continue in the incessant search for new means of ex-pression and new forms, in competition with contemporary European production. At the 4th Monza exhibition (1930), the Celadon series was shown, pieces in enamelled porcelain imitating Chinese jade, for which he experimented with new industrial ceramic mixtures and new silky enamels, side-by-side with the Exagon service, with its clean hexagonal forms, with no bulges or superimposed decorations:9 it was the occasion of a juxtaposition between Ponti and Gariboldi, from which, besides a very definite movement to 20th-century taste and the choice of forms of a generally rationalist kind (in which they were also followed by Andloviz in Laveno), re-emerged an interest in decoration, especially in porce-lain productions, marked by the application on purely geometric shapes of floral elements, scrolls, filaments, stylised figurines and agate-tip decorations. In 1935, Gio Ponti, using moulds designed for the production of rubber gloves, invented five ornaments in the shape of hands, on which he deployed an imaginative and exoteric repertory of signs: [2-3] the Mano di Dafne, the Mano con i simboli and, above all, the Mano della Fattucchiera, produced in agate-tip gold by Elena Diana,10 together with two versions having applied flowers, pieces probably designed for the Paris exhibition L’art italien des XIX et XX siècles, organised by Antonio Maraini in association with Gio Ponti and Pietro Chiesa, the head of Fontana Arte in Milan. This choice was shared by Giovanni Gariboldi, who, between 1935 and 1938, produced the Vaso globulare con roselline, Vaso piriforme con barbe di frate and Vaso piriforme con

82 83

<[9] G. Ponti, Disegni per bottiglie, ink on paper, 11 November 1946. Archives of the Cooperativa Ceramica of Imola, Imola

cartigli accartocciati.11 For the same exhibition, the architect also designed five cylindrical and quad-rangular bottles (also in porcelain), partly golden, partly white, on which floral decorations were ap-plied (white, golden or polychrome). Model 1522, in particular, comes to mind, characterised by four circles of flowers suggesting a stylised female body adorned with lace, published in Domus in June 1935:12 [1] a prefiguration of the bottles with crinoline which Ponti would design in the years 1946–1950, both for the Imola ceramic production and for the glass production of Paolo Venini. The theme of the application or apparent incision of ornaments on the bodies of the ceramic pieces — whether they be floral decorations, grotesques or figures, giving a cameo effect, as for example in the monumental Vasi con rami di foglie e uccelli of Gariboldi13 — was further developed in the course of the 1940s in a plastic way, with the bodies of the bottles hollowed out to contain plastic elements and figures with the clearly ironical objective of translating Arturo Martini monumentality to domestic objects. Em-blematic in this sense are the two square-shaped perfume bottles designed by Ponti and modelled by Pietro Melandri of Faenza between 1947 and 1950, in which, moreover, crinoline again appears in decorating the neck of the piece.14 [5] The beginning of his relationship with the Cooperativa Ceramica of Imola can be situated in 1946, in particular his relationship with those who would become his modellers, namely Arrigo Visani and Domenico Minganti. For the Cooperativa Ceramica of Imola, the architect invented a series of ceram-ic furnishing objects of an unequivocally surreal, if not oneiric, kind, after models in the painting of De Chirico, Savinio, Morandi, Campigli, but given that ironic, sometimes sarcastic, interpretation of a nostalgic return to a late 19th-century bourgeois décor which characterises much of Italian deco-rative art work in the post-World War II period, in obvious contrast with 20th-century monumental-ism and that branch of rationalism which had become compromised with Fascism — in an explicit effort, at least on the formal level, to compensate for the brutality and misery of the War. The return in women’s fashion of crinoline, even if in a modern style, of flowery ornaments, of crochet and lace to adorn furniture, prompted Ponti to reinvent the ‘exoteric and floral’ bottles designed for Doccia in the mid-1930s, accentuating their playful, deliberately absurd and inevitably ironic character. On 26 April 1946, the architect sent a letter to Imola containing a number of graphic suggestions for bottles with the allegories of the Ispirazione and the Melanconia15, a kind of three-dimensional translation of some proposals of Gariboldi for Richard-Ginori again of the late 1930s. [6] The exchange of corre-spondence and design projects became more intense from November and on the 11th the architect again sent sketches of bottles with crinoline, one of which designing a female figure enclosed in the body of the bottle, the latter wrapped in lace ribbons, and this gave rise to a product in enamelled majolica [7-8]. These are pieces designed by Ponti for APEM (Artigianato Produzione Esportazione Milano) (Craftwork Production Export Milan) founded by Romualdo Borletti, a family with whom Ponti had been linked from the beginning of his career, of which there is a series of decorative variants, as is evidenced by the collection of sketches in pen and watercolour on paper, datable to between 1946 and 1950 and entitled Studii per bottiglie da liquori e flaconi da profumo (Antonello Collection). Finally, on 16 and 24 December 1949, Ponti requested that ‘eight bottles’ be sent to Richard-Ginori, among which ‘la infogliata, la abbottonata, la incatenata, la incravattata, la ingioiellata, la crepata....’ 16 [9] In 1946 Ponti also came into contact, through Melandri, with Enrico and Gaetano Dal Monte from Faenza17, experts in the processing of papier-mâché, and with papier-mâché he would produce rich and imaginative sculptural works, sometimes only heads and hands (e.g. Le mani di Lily Pons, of the mid-1950s), re-interpreting and adapting the models of 1935, but particularly frames for pier glass-es and pictures — as, from 1950, would also Fausto Melotti, but in ceramics —,18 in which crinoline becomes the core decorative element, being at one and same time plastic and pictorial, monumental and light, precious and popular, elegant and playful, in that indefatigable search for forms, materials and inventions that underlies all of Gio Ponti’s work.The witty and provocative idea of the bottle adorned in lace, initially devised, as we have said, for ce-ramic productions, was redesigned by Ponti around 1947 for Paolo Venini with the aim of creating

84 85

[10] G. Ponti, Figure in crinoline, terracotta with a mat majolica finish, a Richard-Ginori production, 1950. Private collection

[11] G. Ponti, Ritratto di donna tra le nuvole, oil on plywood in a papier-mâché frame, 1947–48.

bottles in glass which, if in deliberately stylised forms, would suggest a little lady of the late 19th cen-tury or a dressmaker’s mannequin with bodices, flounces and crinoline. An invention clearly dear to the architect given that, between 1947 and 1950, he would propose it in opaque enamelled terracotta for Richard-Ginori, in the form of female statuettes with birds’ heads and in Pulcinella, [10] these ba-sically connected with the theme of the Commedia dell’arte which was also being interpreted in glass at the same time by Fulvio Bianconi (1948). It is a series of little ornamental sculptures rich in surre-alistic evocations of the pictures of Savinio and Campigli: ‘They do not have heads (this is verism) or one or other has, surprisingly, a sharp bird’s head (verism). They do not have arms, but it is surprising how arms do not appear necessary. They express themselves totally through the figure. Some are gen-tle, some proud, some affected, some shy, some arrogant, some modest, some pure, some lascivious, some are gossips, some wicked. The dressmakers are right, it is the clothes that count, that make the lady, it is the “fashion plate”. These Doccia ladies are a confirmation’.19 Emblematic of this creative mo-ment is the fascinating Ritratto di donna tra le nuvole, [11] a picture on plywood of the years 1948–49 and mounted in a spectacular frame of Dal Monte papier-mâché crinoline, in which the indigo, sky-blue and grey of the frame, amplifying the tonality of the essential chromatic range, reflect the light blue of the background and the whites of the clouds crossing over the feminine face (memories of the metaphysical skies of De Chirico), amplifying the profound intensity of a view of things that is, at one and the same time, very old and entirely modern.

1 G. Ponti, Le ceramiche. Le ragioni dello stile moderno, in L’Italia alla Esposizione Internazionale di arti decorative e industriali moderne Parigi MCMXXV, [Rome 1926], p. 70.

2 V. Terraroli, ‘La via italiana al gusto moderno tra nostalgia del passato e accelerazioni creative: 1920–1950’, in M. F. Giubilei and V. Terraroli (eds.) La forza della modernità. Arti in Italia 1920–1950, catalogue of the exhibition, Lucca 2013, pp. 13–23 (with earlier bib-liography).

3 M. T. Giovannini, Le ceramiche di Doccia disegnate da Gio Ponti: uno studio iconografico, in L. Frescobaldi Malenchini, W. T. Giovannini, O. Rucellai (eds.), Gio Ponti, Florence 2015, pp. 18–19; V. Terraroli, ‘Ar-chitettura, scultura e arti decorative’, in R. Bossaglia and V. Terraroli (eds.), Milano Déco. La fisionomia della città negli anni Venti, cata-logue of the exhibition, Milan 1999, pp. 19–79.

4 V. Terraroli, Ceramica italiana d’artista 1900–1950, Milano 2007 (with earlier bibliography); P. Franceschini, La ceramica italiana at-traverso le riviste e le esposizioni, in V. Terraroli, Ceramica italiana..., op. cit., pp. 221–226.

5 For Il Labirinto: V. Terraroli, ‘Tomaso Buzzi e Gio Ponti: protagonisti insuperati delle arti decorative tra Déco e Novecento’, in M. Barovier with C. Sonego (eds.), Tomaso Buzzi alla Venini, catalogue of the exhi-bition, Milan 2014, pp. 52–61.

6 V. Terraroli, ‘Appunti sul dibattito del ruolo delle arti decorative negli anni Venti in Italia: da Ojetti a Papini, da Conti a D’Annunzio, da Sarfatti a Ponti’, in L’Arte nella storia. Contributi di critica e storia dell’arte per Gianni Carlo Sciolla, in V. Terraroli, F. Varallo, L. De Fanti (eds.), Milan 2000, pp. 131–140.

7 V. Terraroli, ‘Le arti decorative in Domus 1928’, in V. Terraroli (ed.), Le arti decorative in Lombardia nell’età moderna 1780–1940, Milan 1999, pp. 345–369.

8 G. Ponti, Il fattore italianità nelle nostre arti applicate, in Domus, 35, November 1930, pp. 490–493.

9 M. T. Giovannini, Le ceramiche di Doccia..., op. cit., 2015, pp. 490–493.

10 Ibid., pp. 490–493.

11 S. Cretella, ‘Gariboldi’, in M. F. Giubilei and V. Terraroli (eds.), La forza della modernità…, op. cit., pp. 366–369.

12 Some examples were published as illustrations for the article by G. Ponti, ‘Ceramiche moderne italiane al “Jeu de Paume”’, in Domus, June 1935, pp. 38–44; M. T. Giovannini, Le ceramiche di Doccia..., op. cit., pp. 484–488.

13 S. Cretella, ‘Giovanni Gariboldi’, in V. Terraroli and S. Cretella (eds.), Ceramiche italiane d’arte tra Liberty e Informale. La fragile bellezza, catalogue of the exhibition, Cinisello Balsamo 2014, pp. 141–142.

14 F. Bertoni, Gio Ponti. “Idee” d’arte e di architettura a Imola e in Romagna, catalogue of the exhibition, Imola 2013, pp. 133–139, 154.

15 Ibid., pp. 25–33, 34.

16 Ibid., pp. 48–54.

17 Ibid., pp. 81–89, 96, 101 (frames), 103–105 (hands), 116–119 (frames), 120 (Le mani di Lily Pons).

18 A. Commellato and M. Melotti (eds.), Fausto Melotti. L’opera in ce-ramica, catalogue of the exhibition, Milan 2003.

19 G. Ponti, Le mani, le pistole, i divani e le dame di Doccia, in Domus 247, June 1950, p. 47.

86 8786 87

THE WORKSMarino Barovier and Carla Sonego

88 89

GUIDE FOR THE READER

The catalogue of the works presented below has been arranged in two sections: one dedicated to the glass pieces devised by Paolo Venini and one — subdivided into subchapters — that illustrates the series devised by artists and designers who intermittently worked with Venini from the 1930s up to his death in 1959: Tyra Lundgren, Gio Ponti, Piero Fornasetti, Eugène Berman, Ken Scott, Riccardo Licata, Charles Lin Tissot, Massimo Vignelli, Tobia Scarpa and Grete Korsmo. Both sections have been organised on the basis of types (grouping together the models produced with the same glass tessuto) and by category of object, observing the chronological order as far as possible. The entries are ac-companied by a brief description where generally the original terminology has been used, whether for the names of the series, the execution technique or the colours. Specifically, for the names of the co-lours, reference has been made to those given in some factory documents kept in the Venini Historical Archive, Murano, such as that reproduced on the page opposite. [1] The dates given in each entry refer to the period of production of the series to which the piece belongs. They have been deduced from an analysis of the furnace Quaderno Nero (Black Book) which gives in succession the models produced by the glassworks. Account has been taken also of the year of presentation of the individual pieces at exhibitions of decorative art and the year in which they were published in the magazines. The differ-ent models, identified by their numbers, are accompanied by a catalogue drawing, a furnace drawing, a period photograph and an example of the actual piece. In cases where the model does not have a catalogue drawing or corresponding number, because the item was designed and/or produced for a specific order without being included in a catalogue, the entry is accompanied by a grey square with the initials ‘f.c.’ (fuori catalogo — outside the catalogue). In cases where the available documentation has not made it possible to identify the model, the grey square is accompanied by the initials ‘n.i.’ (not identified). With regard to the Venini/Christofle vetro e argento (glass and silver) series designed by Massimo Vignelli, the numbering given refers to that assigned by Christofle itself. The catalogue draw-ings are taken from: Quaderno Nero (Black Book); Catalogo Blu (Blue Catalogue), 1930s–1940s; Cat-alogo Rosso (Red Catalogue), 1950s; Catalogo Viola (Violet Catalogue), 1950s; Catalogo Verde (Green Catalogue), 1968–69; Catalogo Warnecke (Warnecke Catalogue), late 1950s; Lucido Venini, 1950s. [2] The drawings have been reproduced in dimensions proportionate to the actual size of the object but this criterion has not been followed for the furnace drawings in order to facilitate their reading. All the drawings and the period photograph come from the Venini Historical Archive, except for rare cas-es, where the different provenance is indicated. For each type the historical bibliography is indicated, while for generic types you should refer to the corresponding critical apparatus.

<[1] Venini Colours, typewritten list, 1950s, Venini Historical Archive

[2] Quaderno Nero, Catalogo Blu, Catalogo Rosso, Catalogo Viola, Catalogo Verde, Catalogo Warnecke, Lucido Venini

90 91

PAOLO VENINI

92 93

PAOLO VENINI The diamante or brillantati glass pieces are made in transparent heavy glass, mostly colourless and having a characteristic pattern with crossed ribbing, obtained with the use of a complex technique, involving heat-work and entailing the use of listels of glass with a triangular cross-sec-tion and special moulds. With this series, Paolo Venini presumably wished to produce pieces with a brilliance similar to some of the German and Austrian engraved crystal pieces with lozenge motifs of the first decades of the centu-ry. Unlike these, however, the diamante pieces were characterised by an often contorted and/or deformed or polylobed shape, due to the involvement of Carlo Scarpa, and seldom had geometrical forms. Two initial examples were shown at the 19th Venice Biennale of 1934, but it was in 1936 that the complete series was exhibited at the Venice Biennale and Milan Triennale and was given a cer-tain prominence in journals such as Domus, which described it as a ‘new Murano glass invention’ (no. 98, February 1936). The diamante pieces were very success-ful, particularly in foreign markets — and the Swedish market in particular — so much so that the series was subsequently added to with more linear models taken from repertoire of the glassworks. Because of its characteristics, this type of glass was also used in lighting. Diamante glass was mostly produced in the colourless version (‘diamante crystal’), but was also proposed in green, light blue and amethyst, sometimes with the inclusion of gold leaf.

DIAMANTE 1934–36

Exhibitions

1934, Venice, 19th Biennale Internazionale d’arte1936, Venice, 20th Biennale Internazionale d’arte1936, Milan, VI Triennale di Milano

Reference bibliography

Domus, 83, November 1934, p. 23 Domus, 98, February 1936, pp. 22–23Le Tre Venezie, March–April 1936Lorenzetti 1936, p. 319Papini 1936, p. 76Ponti 1936, p. 8P. [Ponti] 1936, p. 28Felice 1937, pp. 28–30Domus, 124, April 1938, p. 46lo Stile, 5–6, May-June 1941, pp. 60–61

94 95

96 97

98 99

3538

3537

>Group of diamante glass pieces in the Venini technical office. Period pho-tograph, 1943, Luce Historical Archive

Drawing for a vase with a trian-gular cross-section in diamante glass containing opaque canes, exhibited at the 19th Venice Biennale (1934). This is one of the first examples produced using this technique. The piece was produced following a model of the mezza filigrana series illustrated in the Blue Catalogue.193421 cm high

Exhibitions 1934, Venice, 19th Biennale

>Vase in diamante glass, no. 3538, exhibited at the 19th Venice Biennale (1934). Period photograph

Drawing for a vase in diamante glass, of an irregular shape, exhibited at the 19th Venice Biennale (1934). This is one of the first examples produced using this technique.193421 cm high

Exhibitions 1934, Venice, 19th Biennale

>Vase in diamante glass, no. 3537, exhibited at the 19th Venice Biennale (1934). Period photograph

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3553

3556

3557

3554

Vase with a multilobate cross-section in green diamante glass.1934−3617,5 cm highPrivate collection

>Vase in diamante glass, no. 3553. Period photograph, c. 1936. The image was published in Domus, no. 98, in February 1936

Vase with a bilobate cross-section in diamante glass.1934−3620 cm highPrivate collection

>Vases in diamante glass.Period photograph, c. 1936

Bowl in diamante glass, box-shaped, with an irregular rect-angular cross-section and two flaps turned upwards.1934−3620 cm high; 25 cm widevenini murano MADE IN ITALY acid stampHoward J.Lockwood collection, Fort Lee, NJ

>Vases in diamante glass, nos. 3556, 3558, 3555 and 3557.Period photograph, c. 1936. The photograph was published in Domus, no. 98, in February 1936 and in Le Tre Venezie in the March-April issue of the same year

Drawing for a vase with a trilobate cross-section to be produced in diamante glass.1934−3619 cm high

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3555

3558

Vase in diamante glass having a body with a trilobate cross-sec-tion. A similar example was exhibited at the 6th Milan Trien-nale (1936).1934−3624 cm highPrivate collection, Udine

>Vases in diamante glass nos. 3558 and 3555. Period photograph, c. 1936

Drawing for one of the vases in diamante glass published in Domus, no. 98, in February 1936. The piece is in the form of a box with a square cross-section and has two vertical flaps and two turned outwards. 1934−3617 cm high

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3622

3623

3624

3733

>Vases in diamante glass, nos. 3622 and 3264, and in soffiato leggero, no. 3586. Period photograph, c. 1936

Vase with an oval cross-sec-tion in diamante glass having a mouth with an asymmetrical profile on both of the long sides.1934−3618 cm highPrivate collection

Exhibitions 1936, Venice, 20th Biennale1936, Milan, 6th Triennale

Drawing for one of the vases in diamante glass exhibited at the 6th Milan Triennale (1936). The model is characterised by the irregular and asymmetrical profile of the mouth and a slight vertical depression on the body of the piece.1934−3618 cm high

Exhibitions 1936, Milan, 6th Triennale

>Vase in diamante glass, no. 3623, and in soffiato leggero, nos. 3588 and 3585, exhibited at the 6th Triennale. Period photograph, c. 1936, detail

Drawing for a small vase in dia-mante glass, documented by a period photograph. The model is characterised by its irregular form and the indented profile of the mouth.1934−3616 cm high; 15 cm wide

Vase in the shape of an irregular valve in pale-green diamante glass with inclusion of gold leaf.1934−3622,5 cm highvenini murano acid stampBischofberger collection, Switzerland

Exhibitions 1936, Venice, 20th Biennale

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3559

3638 A

3735

3736

Drawing for a bowl in diamante glass having an oval cross-sec-tion and asymmetric profile of the mouth on both of the long sides.1934−3610 cm high; 23 cm wide

Exhibitions 1936, Milan, 6th Triennale

>Bowl, no. 3559, and lamp base, no. 3638, in diamante glass. Period photograph, c. 1936. The image was published in Domus, no. 98, in February 1936

Spherical vase in diamante glass. The model was also used as a lamp base.1934−3619,8 cm high; 20,6 cm øvenini murano acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1936, Milan, 6th Triennale

>Vase no. 3638 A and circular paperweight in diamante glass. Period photograph, c. 1936

Bowl in diamante glass with an asymmetric profile.1934−3610 cm high; 24 cm widevenini murano acid stampPrivate collection

Bowl in diamante glass with an asymmetric profile. The model is characterised, among other things, by the heart-shaped cross-section of the mouth.1934−369 cm high; 22 cm widePrivate collection

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3732

3734

3560

3561

3562 n.i.

Small vase in diamante ame-tista glass with a quadrangular base, round body and V-shaped mouth.1934−3613 cm highvenini murano acid stampPrivate collection

Bowl in diamante ametista glass with inclusion of gold leaf. The asymmetrically shaped piece is characterised by a ver-tical depression at one of the extremities.1934−3614 cm highvenini murano acid stampPrivate collection

Bowl in diamante glass in the shape of a shell.1934−368 cm high; 25 cm widePrivate collection

Bowl in diamante glass with a square base and a rim coming to four points.1934−368 cm high; 27 cm widevenini murano acid stampFilippo Gambardella collection

Bowl with an oval cross-section in diamante glass containing gold leaf. The model is charac-terised by the raised rim on the short sides.1934−368,5 cm high; 18 cm widevenini murano MADE IN ITALY acid stampPrivate collection

Drawing for a large, irregularly shaped vase in diamante glass intended for an exhibition or a Viennese client.c. 193644 cm high; 41 cm wide

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3631

9034

9035

Vase with a multilobate cross-section in crystal. The model is characterised by two vertical cuts on the long sides and the different heights of the rim of the mouth.1934−3615 cm high; 26 cm widevenini murano acid stampPrivate collection

>Obelisks, no. 9034, and vase, no. 3631, in diamante glass. Period photograph, c. 1936

Large obelisk in diamante glass having a twisted body with a design in the shape of an ‘8’.1934−3645 cm highvenini murano MADE IN ITALY acid stampPrivate collection

Drawing for a large obelisk with a square design belonging to the series of diamante glass pieces given in the Blue Catalogue.1934−3648 cm high

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PAOLO VENINI The glass pieces in this series were made using the filigrana a retortoli technique, also called zanfirico after the antiquarian, Anto-nio Sanquirico, who in the 19th-century commissioned many copies of antique items produced with this working technique. Employed in Murano since the end of the 16th-century, it involved joining the characteristic transparent canes un-der heat, with variously interwoven threads incorporated within them, to obtain a unique glass pattern then manipulated and blown into the desired form. Re-ferring back to this tradition, in the early 1950s Venini with his master glass-makers, perfected different variants of cane, subdivided by type (‘a rete’, ‘settefi-li’, ‘ballottini’, ‘nastri’), which over the decade were listed in a summary Table. The zanfirici glass pieces, all having an elegant and essential design, were produced with a delicate polychromy, but also in monochrome versions, especially in the zanfirico lattimo variant. Some of these were characterised in particular by the repetition of a careful combination of Types A, N, A and I. In 1954 zanfirico canes were used in an original way for the execution of zanfirico reticello glass pieces with elaborately worked patterns.The filigrana a reticello technique was adopt-ed, producing a pattern of interlaced canes. However, in this case, the filigrane canes (with a single straight thread inside them) usually used in this technique were replaced by mostly monochrome a retortoli canes. At the Biennale of Ven-ice in 1954, these artefacts were exhibited in the following colours: cyclamen, sapphire, green/lattimo, sulphur/green/lattimo, turquoise/green/lattimo.

ZANFIRICI 1950–51 ZANFIRICO RETICELLO 1954

Exhibitions

Zanfirici1950, Stockholm, Nordiska Kompaniet, Venini exhibition1951, Helsinki, Italian exhibition1951, Milan, 9th Triennale di Milano1951, Stockholm, Nordiska Kompaniet, Venini exhibition1952, Frankfurt, Spring Fair1952, New York, Georg Jensen, Art in Contemporary Glass1952, Venice, XXVI Biennale Internazionale d’arte1953, Copenhagen, Illums Bolighus, Venini’s glaskünst 1953, Oslo, Venetiansk Kunsthåndverk1953, Stockholm, Nutida Italiensk Konst1954, The Hague, Venetiaan Glas1957, Baden Baden, Venini. Gläser aus Murano1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Linz, Venini-Murano und Orrefors-Schweden1957, Vienna, Venini Murano Glas

Zanfirico reticello 19541954, Milan, IX Triennale di Milano1954, Venice, XXXX Biennale Internazionale d’arte1954, Stockholm, Nordiska Kompaniet, Venini exhibition1955, New York, Jensen, The Designers’ Exhibition of Glass1956-58, USA and Canada, European Glass Design1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Reference bibliography

ZanfiriciDomus, 262, October 1951, p. 29Die Kunst und das Schöne Heim, 8, May 1952, p. 314XXVI Biennale di Venezia 1952, no. 122Zetti, Spreafico 1952, pp. 85–86, 90–91Italian glass [1954], p. 49Aloi 1955, pp. 20, 24Domus, 316, March 1956, no page numberDomus, 361, December 1959, p. 38Warnecke 1965, p. 71

Zanfirico reticello 195410. Triennale di Milano 1954, 1954, plates XXXIII, XXXVDomus, 305, April 1955, p. 52 Domus, 313, December 1955, no page numberAloi 1955, p. 21Ernst 1955, no. 13

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>Vases in glass with zanfirico canes exhibited at the 9th Milan Triennale (1951). Period photograph

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3543

3784

Vase in the shape of a truncat-ed cone in zanfirico glass with twisted polychrome canes. The canes are in an A-type ‘net’ in the colours lattimo, ciclamino (cyclamen) and ruby. The piece was produced after a model present in the catalogue of the glassworks and designed by Vittorio Zecchin in the 1920s.c. 195038.2 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for one of the vases in glass with zanfirico canes exhibited at the 9th Milan Tri-ennale (1951). The vase, with an oval cross-section, was pro-duced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. At the Milan event, the piece was exhibited in latti-mo cyclamen and black glass, but monochrome versions and versions with different types of canes are also documented.c. 195015 cm high; 25 cm wide

Exhibitions 1951, Milan, 9th Triennale

>Bowl, no. 3543, and vase, no. 1327, in glass with twisted zanfirico canes. Period photograph, 1950s

Drawing for one of the vases in glass with zanfirico canes exhib-ited at the 26th Venice Biennale (1952). On that occasion, the piece had Type-B ‘netted’ ver-tical canes with a ‘black worm (thread)’ and with a ‘ciclamino (cyclamen) worm’.c. 195120 cm high

Exhibitions 1952, Venice, 26th Biennale

>Zanfirico glass pieces, with poly-chrome vertical canes, nos. 3781 and 3784, exhibited at the 26th Venice Biennale (1952). Period photograph, detail

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3781

3642

3663

3545

Vase in zanfirico glass with lat-timo and ciclamino (cyclamen) canes, ‘seven threads’, Type I.The piece was produced after the model present in the cat-alogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example was exhibited at the 26th Venice Bi-ennale (1952), where it was pre-sented in the variant with verti-cal canes, Types A, N, A and I.c. 195121 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

Vase in zanfirico glass with vertical lattimo canes in ‘rib-bon’ form, Type Z. The piece was produced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example, in zanfirico lat-timo glass with twisted canes, with Types A, N, A and I canes, was exhibited in 1951 at the 9th Milan Triennale and the fol-lowing year at the 26th Venice Biennale.c. 195129 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1951, Milan, 9th Triennale1952, Venice, 26th Biennale

>Vases in zanfirico glass, nos. 3642, 3781 and 3545. Period photograph, March 1953, detail

Vase in zanfirico glass with lat-timo twisted canes, Types A, N, A and I. The piece was produced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1940s.c. 195130 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1953, Copenhagen, Illums Bolighus, Venini’s glaskünst

>Vases, nos. 3781 and 3642, and bowl, no. 3643, in zanfirico lattimo glass, Types A N A and I. Period photograph, June 1952

Vase, with a body having a quadrangular cross-section, in zanfirico glass with lattimo twisted canes. The characteris-tic tessuto of the glass is due to the repetition of canes of Types A, N, A and I. The piece was pro-duced after the model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s.c. 195117 cm highvenini murano ITALIA acid stampPrivate collection

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3665

3907

3939 4248

3579

Vase in zanfirico lattimo glass with vertical canes in a ‘net’, Type A. A similar example, in zanfirico lattimo glass with twisted canes, was exhibited at the 9th Milan Triennale (1951).c. 195124.3 cm highvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1951, Milan, 9th Triennale

>Vase, no. 3665, in zanfirico lat-timo glass with twisted canes. Period photograph, March 1953

Drawing for one of the vases in glass with zanfirico canes exhib-ited at the 9th Milan Triennale (1951). The vase was produced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. At the Milan event the piece was exhibited in the vari-ant zanfirico lattimo with twist-ed canes, with canes of Types A, N, A and I. This variant was present also the following year at the 26th Venice Biennale.c. 195127 cm high

Exhibitions 1951, Milan, 9th Triennale1952, Venice, 26th Biennale1952, Frankfurt, Fair

Drawing for one of the vases in glass with zanfirico canes exhib-ited at the 9th Milan Triennale (1951). The vase was produced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. At the Milan event the piece was exhibited in zanfirico lattimo and black glass.c. 195130 cm high

Exhibitions 1951, Milan, 9th Triennale

Drawing for one of the vases in glass with zanfirico canes exhibited at the 9th Milan Tri-ennale (1951). On this occasion the piece was presented in the variant in zanfirico lattimo and black glass.c. 195116 cm high; 25 cm wide

Exhibitions 1951, Milan, 9th Triennale

>Vases in zanfirico glass, nos. 3939 and 4248, exhibited at the 9th Milan Triennale (1951). Period photograph, detail

Drawing for one of the vases in glass with zanfirico canes exhib-ited at the 9th Milan Triennale (1951). The vase was produced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. At the Milan exhibition the piece was presented in zan-firico lattimo and black glass.c. 195122 cm high

Exhibitions 1951, Milan, 9th Triennale

>Vase in zanfirico glass, no. 3579, exhibited at the 9th Milan Triennale (1951). Period photograph, detail

Glass pieces with zanfirico canes, mezza filigrana pieces and tessuto pieces in a Venini showcase at an exhi-bition in the 1950s. Period photograph

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3922

4449

4405

4451

4452

Vase, with marked waist in the body, in zanfirico glass with twist-ed lattimo canes. The character-istic tessuto of the glass is due to the repetition of canes of Types A, N, A and I. The piece was pro-duced after the model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example was exhibited in 1951 at the 9th Milan Triennale and the following year at the 26th Venice Biennale.c. 195122 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1951, Milan, 9th Triennale1952, Venice, 26th Biennale

>Plate and vases in zanfirico lat-timo glass exhibited at the 26th Venice Biennale (1952). Period photograph, 1950s

Drawing for a plate with a base in zanfirico glass and border in colourless transparent glass, exhibited at the 26th Venice Bi-ennale (1952). At this event the piece was exhibited with a base of zanfirico lattimo canes, Types A, N, A and I.195035 cm ø

Exhibitions 1952, Venice, 26th Biennale

Drawing for one of the vases in glass with zanfirico canes exhibited at the 9th Milan Tri-ennale (1951). On this occasion the piece was presented in zan-firico glass with twisted lattimo canes, Types A, N, A and I. The vase represents the version in zanfirico glass of the model, no. 4405, in the series with vertical bands, designed by Fulvio Bian-coni in 1950−51.c. 195125 cm high

Exhibitions 1951, Milan, 9th Triennale

>Vases in zanfirico glass and in glass with lattimo canes. Period photograph, 1950s

Drawing for one of the vases in glass with zanfirico canes exhib-ited at the 9th Milan Triennale (1951). On this occasion the piece was presented in zanfirico glass with vertical lattimo and black canes.195026 cm high

Exhibitions 1951, Milan, 9th Triennale1952, Frankfurt, Fair1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Vases in zanfirico glass, nos. 4381 and 4451, exhibited at the 9th Milan Triennale (1951). Period photograph, detail

Vase in zanfirico glass with vertical lattimo and ciclamino (cyclamen) canes. Circular foot in colourless transparent glass. The same model with a glass tessuto called ‘vetro pizzo’ (‘lace glass’), with zanfirico lattimo canes and ametista (amethyst) canes, was exhibited at the 9th Milan Triennale (1951).195017 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1951, Milan, 9th Triennale

>Zanfirico lattimo glass pieces exhibit-ed at the 26th Venice Biennale (1952). Period photograph, detail

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4383

4459

4380

4455

4460

4450

Vase in the shape of a truncat-ed cone in glass with vertical zanfirico canes in a ‘net’, Type A (lattimo) and B (lattimo and red), alternating with bands of tessuto glass having fine turchi-no (deep-blue) and aubergine canes. The piece, with a little oval base, is characterised by a body with an elliptical cross-section turned at an angle of ninety degrees with respect to the base. The same model with zanfirico cyclamen and zaffiro (sapphire) canes was exhibited at the 9th Milan Trien-nale (1951).195023 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1951, Milan, 9th Triennale

Bowl with a quadrangular cross-section in glass with Type B ‘net’ zanfirico, lattimo and ametista (amethyst) canes al-ternating with canes in ametista glass. The same model in zan-firico lattimo glass with Types I and N canes, was exhibited at the 26th Venice Biennale (1952).195010 cm high; 18 cm widevenini murano ITALIA acid stamp; Venini old labelPrivate collection, Udine

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition1952, New York, Georg Jensen, Art in Contemporary Glass1952, Venice, 26th Biennale

>Zanfirico glass pieces exhib-ited in New York at the Art in Contemporary Glass exhibition (1952). Period photograph, detail

Vase in the shape of a truncated cone in zanfirico glass having vertical polychrome canes with alternating ametista Type A ‘net’ canes and canes with zolfo (sulphur-coloured) and ametis-ta (amethyst) Type U bands. A similar example was exhibited in 1952 in New York at the Art in Contemporary Glass exhibition organised by Georg Jensen. This model was proposed in three dif-ferent heights: no. 4380, h 19 cm; no. 4381, h 16 cm; no. 4382, h 14 cm.195019.2 cm high; 15.6 cm øvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition1951, Milan, 9th Triennale1952, New York, Georg Jensen, Art in Contemporary Glass

>Vases in the shape of truncated cones in zanfirico glass with polychrome canes. Period photograph, October 1950

Bowl in zanfirico lattimo glass with Types A, N, A and I vertical canes. The same model with a glass tessuto called ‘vetro pizzo’ (‘lace glass’) having zanfirico lattimo and ametista (amethyst) canes was exhibited at the 9th Milan Triennale (1951).19509 cm high; 23.5 cm øvenini murano ITALIA acid stampPrivate collection

Exhibitions 1951, Milan, 9th Triennale1952, New York, Georg Jensen, Art in Contemporary Glass

Drawing for a small vase in zan-firico lattimo glass exhibited at the 26th Venice Biennale (1952). At this event the piece was presented in glass with Types I and N vertical canes. 195014 cm high

Exhibitions 1952, Venice, 26th Biennale1952, Frankfurt, Fair

>Zanfirico glass pieces exhibited at the 26th Venice Biennale (1952). Period photograph, detail

Bowl with an oval cross-section in zanfirico glass with lattimo and green Type A ‘netted’ verti-cal canes. A similar example in zanfirico lattimo and black glass was exhibited at the 9th Milan Triennale (1951). 195012,5 cm øvenini murano ITALY acid stampPrivate collection

Exhibitions 1952, Frankfurt, Fair

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4458

4454

4456 3875

4549

Cylindrical tumbler in zanfirico glass having vertical canes with ciclamino (cyclamen) ‘ballottini’ (‘beads’). As documented by the factory drawing and some peri-od photographs, the model was also produced with polychrome twisted canes. A variant on this design can be seen in the mod-el, no. 4457, corresponding to a tumbler in zanfirico glass in the shape of a slightly truncated cone. 195011 cm highPrivate collection

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition

>Tumbler glasses, no. 4458, in zanfirico glass. Period photograph, 1950s, detail

Drawing for one of the pieces in zanfirico glass exhibited at the 9th Milan Triennale (1951). At this event the plate was presented with a glass tessuto called ‘vetro pizzo’ (‘lace glass’), having zanfirico lattimo canes and canes of green glass. The model was also proposed with a smaller diameter (no. 4453, diameter 24 cm).195028 cm ø

>Plate, no. 4453, tumbler glasses, nos. 4457-4458, and wine glass-es in zanfirico glass. Period photograph, c. 1951

Drawing for a wine glass be-longing to the series of zanfirico glass pieces. As documented by the factory drawing and some period photographs, the model was proposed with twisted canes of the ‘net’ and ‘ballottini’ (‘bead’) type.195023 cm high

Perfume bottle with a hexagonal cross-section in zanfirico glass with Type A ‘netted’ lattimo and ciclamino (cyclamen) vertical canes. Stopper in worked silver.An example of this model in zan-firico glass with vertical lattimo and yellow canes and stopper in glass was exhibited at the 9th Milan Triennale (1951).c. 195119 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1951, Milan, 9th Triennale

Bowl of a quadrangular design in zanfirico glass with lattimo and talpa Type A ‘netted’ and Type N ‘ballottini’ (with ‘beads’) canes.19504.5 cm high; 17.5 cm widevenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, New York, Georg Jensen, Art in Contemporary Glass

>Perfume bottles, no. 3875, and bowl, no. 4549, in zanfirico glass and frame with murrine (hot-worked mosaic). Period photograph, June 1952

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3843

3844

3845

Vase in zanfirico glass with a lat-timo mesh having crossed, Type P, ‘ballottini’ (with ‘beads’) canes. The model is characterised by the slight waist in the body of the piece and the elongated neck.195420 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Large bottle in meshed latti-mo and orange zanfirico glass with crossed ‘settefili’ (‘sev-en-thread’) canes, Type I. A similar example in monochrome glass (lattimo?) was exhibited at the 27th Venice Biennale (1954) and the 10th Milan Triennale (1954).195438 cm highVenini old labelPrivate collection

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Vase in lattimo meshed zanfir-ico glass with ‘netted’ crossed canes, Type C. A similar example was exhibited at the 27th Venice Biennale (1954) and the 10th Milan Triennale (1954).195428 cm highvenini murano ITALIA acid stampPrivate collection, Udine

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

>Vases in meshed zanfirico, nos. 3843-3844-3845, in an image published in 1955 by Roberto Aloi in the book Esempi di decorazione moderna di tutto il mondo: vetri d’oggi

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3846

3842

3847

Vase in lattimo meshed zanfirico glass with crossed ‘settefili’ (‘seven-thread’) canes, Type I. The model is characterised by the high flared neck with a quadrangular cross-section. A similar example was exhibited at the 27th Venice Biennale (1954).195427 cm highvenini murano ITALIA acid stampPrivate collection, Udine

Exhibitions 1954, Venice, 27th Biennale

>Vases in meshed zanfirico glass, nos. 3845 and 3846. Period photograph, c. 1954

>Vases in meshed zanfirico glass at the 27th Venice Biennale (1954). Period photograph

Tall vase in meshed zanfirico glass with light-blue canes. Mouth with an oval cross-sec-tion and a slightly flared rim. A similar example was exhibited at the 27th Venice Biennale (1954). 195430 cm highPrivate collection

Exhibitions 1954, Venice, 27th Biennale

>Vases in meshed zanfirico glass, nos. 3843 and 3842. Period photograph, c. 1954

Drawing for one of the vases in meshed zanfirico glass exhibit-ed at the 27th Venice Biennale (1954).195425 cm high

Exhibitions 1954, Venice, 27th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

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3841

3848

3821

Vase in dark-blue and latti-mo meshed zanfirico glass with crossed ‘settefili’ (‘sev-en-thread’) canes, Type I. The model has a tall foot developed out of the body of the piece, a central part in the shape of a flattened globe and an elongat-ed neck. A similar example was exhibited at the 27th Venice Bi-ennale in 1954 and, in the same year, at the10th Milan Triennale.195426 cm highMuseo Venini collection, Murano

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Vase in meshed zanfirico glass with lattimo and turchino (deep-blue) canes having crossed ‘settefili’ (‘seven-thread’) canes, Type I. The piece, with an oval cross-section, is characterised by the broad foot developed out of the body of the piece.195417.6 cm highThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Vase in lattimo meshed zanfir-ico glass with crossed ‘sette-fili’ (‘seven-thread’) canes, Type I. The piece, with an oval cross-section, is characterised by a long flared neck.195438 cm highvenini murano ITALIA acid stampPrivate collection

>Vases, nos. 3841 and 3842, in meshed zanfirico glass. Period photograph, c. 1954PA

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PAOLO VENINI The Opalini series was presented on the occasion of the 26th Venice Biennale in 1952 arousing interest due to the novelty of the glass material with its unusual colours combined with soft but well defined shapes, in some cases recalling oriental art. Unlike the usual, mostly milky, translucent opaline glass, Venini’s opalini were intense and definite in colour with a surface which was compact but semipermeable to light, this being obtained by super-imposing layers of colour and of lattimo glass. Apart from models with essential lines, the series also contained artefacts decorated with pretty applications in lattimo glass (ribbons, collars, etc.). Some opalini were particularly appreciat-ed by Gio Ponti who presented them as objets d’art in his furnishings. For the Venezuelan villa, Arreaza, called ‘la diamantina’ (1955–56) for example, he chose model no. 3656 repeated in several shades. Colours: white, sulphur, red, blue, violet, brown, green, grey, sera.

OPALINI 1952

Exhibitions

1952, Venice, XXVI Biennale Internazionale d’arte1953, Stockholm, Nordiska Kompaniet, Venini exhibition1953, Copenhagen, Illums Bolighus, Venini’s glaskünst 1953, Stockholm, Nutida Italiensk Konst1953, London, Liberty, Exposition of Paolo Venini1953, Geneva, Les Artisans Vénitiens1953, Oslo, Venetiansk Kunsthåndverk1954, The Hague, Venetiaan Glas1960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini

Reference bibliography

Domus, 349, December 1958, pp. 16–18Domus, 361, December 1959, p. 36Warnecke 1965, p. 74

142 143

144 145

36414225

3655

3656

3657

Drawing for one of the vases in opalino glass exhibited at the 26th Venice Biennale (1952). On that occasion the piece was presented in sera (evening) blue opalino glass. The vase was pro-duced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.195231 cm high

Exhibitions 1952, Venice, 26th Biennale

>Opalino vases, nos. 3641 and 3655, exhibited at the 26th Venice Biennale (1952). Period photograph, detail

Vase in brown opalino glass. A similar example of the same colour was exhibited at the 26th Venice Biennale (1952).The vase represents the version in opalino glass of the model, no. 4225 designed by Fulvio Bianconi in 1950.195231 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

>Opalino vases exhib-ited at the 26th Ven-ice Biennale (1952). Period photograph

Vase in twilight opalino glass. A similar example in green opalino glass was exhibited at the 26th Venice Biennale (1952).195228.5 cm highvenini murano acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

Large vase in green opalino glass. A similar example in light-blue opalino glass was exhibited at the 26th Venice Biennale (1952). The model was produced in two different sizes.195253 cm highvenini murano ITALY acid stamp; Venini old labelPrivate collection

Exhibitions 1952, Venice, 26th Biennale1960, Milan, 12th Triennale

>Opalino vases, no. 3656, exhib-ited at the 12th Milan Triennale (1960). Period photograph, detail

Vase in violet opalino glass. A similar example of the same colour was exhibited at the 26th Venice Biennale (1952).195230 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

>Vases in opalino glass, nos 3657 and 3656. Period photograph, c. 1952

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Drawing for one of the vases in opalino glass exhibited at the 26th Venice Biennale (1952). 195228 cm high

Exhibitions 1952, Venice, 26th Biennale

>Vases in opalino glass, nos. 3659 and 3655. Period photograph, 1950s, detail

Vase in dark violet opalino glass with foot and mouth in lattimo glass.195228 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1953, Copenhagen, Illums Bolighus, Venini’s glaskünst

>Venini glass pieces in the display window of Illums Bolighus in Copenhagen. Period photograph 1953, detail

Vase in opalino cyclamen glass with foot and collar, and rim of the mouth in lattimo glass.195228 cm highGalleria Alessandro Zoppi collection

>Opalino glass pieces and zanfiri-co glass pieces. Period photograph, March 1954

Vase in light-blue opalino glass decorated by a ribbon with a bow in lattimo glass.195214.5 cm highMarco Arosio collection, Milan

Vase in red opalino glass. A sim-ilar example was exhibited at the 26th Venice Biennale (1952). The vase was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1940s.195227 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1952, Venice, 26th Biennale

Catalogue drawing for one of the vases in opalino glass exhibited at the 26th Venice Biennale (1952). On that occa-sion the piece was presented in zolfo (sulphur-coloured) opalino glass. The vase was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.195217 cm high

Exhibitions 1952, Venice, 26th Biennale

>Opalino glass pieces, nos. 4225, 3917, 3659 and 3545, exhibited at the 26th Venice Biennale (1952). Period photograph

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PAOLO VENINI This is a small series of artefacts made of monochrome thick transparent glass, in special colours, which was exhibited at the Mostra storica del vetro muranese organised by the Venice Biennale in 1952 among the recent productions of the Venini glassworks. Produced mostly in composite glass with several layers of colour, the pesanti pieces are characterised by their essential lines. They would appear to have been designed as re-interpretations of certain models belonging to the repertoire of the glassworks and designed by Vittorio Zecchin in the 1920s, Carlo Scarpa in the 1930s and Fulvio Bianconi in 1951 (flower series). They witness one of the first attempts by Paolo Venini to present a series associating the Murano tradition with Nordic design, which was becoming progressively more established in those years.

PESANTI 1952

Exhibitions

1952, Venice, XXVI Biennale Internazionale d’arte1953, Stockholm, Nordiska Kompaniet, Venini exhibition1954, Geneva, Les Artisans Vénitiens

Reference bibliography

Gasparetto 1953, p. 29Domus, 361, December 1959, p. 36

150 151

3541 3619

39944511

1522

4501

Vase in very thick transparent red glass. The vase was pro-duced after a model in the cat-alogue of the glassworks and designed by Carlo Scarpa in the 1930s and also proposed in other dimensions.195220 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

Drawing for one of the vases in pesante transparent glass exhibited at the 26th Venice Biennale (1952). On that occa-sion the piece was presented in composite oliva (olive) green glass. The vase was produced after a model in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.195220 cm high

Exhibitions 1952, Venice, 26th Biennale

Drawing for one of the vases in pesante transparent glass ex-hibited at the 26th Venice Biennale (1952). On that occa-sion the piece was presented in composite oliva (olive) green glass. 195215 cm high; 22 cm wide

Exhibitions 1952, Venice, 26th Biennale

>Vases, no. 3994 and obelisks, no. 4261. Period photograph, June 1952

Drawing for one of the vases in pesante transparent glass exhibited at the 26th Biennale of Venice (1952). The piece was produced after a model de-signed by Fulvio Bianconi in 1951.195228 cm high

Exhibitions 1952, Venice, 26th Biennale

>Pesante glass pieces at the 26th Venice Biennale (1952). Period photograph

Vase in ametista (amethyst) pesante transparent glass. A similar example in composite prugna (plum) glass was exhib-ited at the 26th Venice Biennale (1952). The vase was produced after a model in the catalogue of the glassworks and designed by Vittorio Zecchin in the 1920s.195245 cm high Venini old labelThe Olnick Spanu Collection, New York

Exhibitions 1952, Venice, 26th Biennale

>Vases in pesante glass. Period photograph published in Domus, December 1959, p. 37

Vase in composite transparent corniola (carnelian-coloured) glass. A similar example in onice glass was exhibited at the 26th Venice Biennale (1952). The piece was produced after a model designed by Fulvio Bi-anconi in 1951.195223.5 cm highPrivate collection

Exhibitions 1952, Venice, 26th Biennale

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PAOLO VENINI From the early 1950s onwards Paolo Venini proposed a singular reinterpretation of murrine glass which he used to enliven a charming series of glass pieces. The production technique consisted of placing the murrine (transversal sections of canes prepared beforehand) over a metal plate covered in clay. Having been put several times in the oven at about 700 degrees, they be-came united under the effect of the heat, forming a glass sheet. This was then closed up in the form of a cylinder to be worked — with blowing and heat-model-ling — in order to obtain pieces in a great variety of shapes. Venini looked to the Murano heritage of the 19th-century and, to create new murrine, probably drew inspiration from certain decorative motifs traceable to the collection of samples of composizioni murrine made by Vincenzo Moretti in 1881. In the course of the decade various types of murrine were perfected which, time after time, would characterise the different series. The first of these, datable to 1953, saw the use of murrine called ‘a dame’ (chequered) in the Venetian dialect, having a bichrome motif with alternating squares. It was distinguished by the combination of quite contrasting colours (red and black, turquoise and black, turquoise and red, green and sulphur, etc.) which accentuated the abstract quality of the decorative motif. In general, for these pieces, now extremely rare, shapes already present in the furnace catalogue were used.

‘A DAME’ MURRINE 1953

Exhibitions

1953, London, Liberty, Exhibition of Paolo Venini1954, The Hague, Venetiaan Glas1956, Göteborg, Muranos glas

Reference bibliography

Domus, 289, December 1953, p. 71The Studio, 147, February 1954, pp. 52–53 Venetiaan Glas 1954Aloi 1955, p. 22

154 155

156 157

158 159

160 161

162 163

3768

3950

n.i.

Vase in glass with turquoise and black ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s. A similar piece appears among the exam-ples of this series published by Domus, which in its issue of December 1953, suggested them as Christmas presents.195325 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Vase in glass with lattimo and avventurina ‘a dame’( chess-board pattern) murrine. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1940s.195327 cm highvenini murano ITALIA acid stampPrivate collection, Germany

>Vases in ‘a dame’ (chessboard pattern) murrine glass. Period photograph, March 1953

Vase in turquoise and black ‘a dame’ ( chessboard pattern) murrine.c. 195317 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

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164 165

3579

3585

3620

3941

3644

Vase in glass with coral and black ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s.195323 cm highvenini murano ITALIA acid stampChiara and Francesco Carraro Foundation, Venice

Vase in glass with zolfo (sulphur-coloured) and talpa (mole-grey) a dame’ ( chess-board pattern) murrine. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar piece appears among the examples of this series published by Domus, which, in its issue of December 1953, suggested them as Christmas presents.195326 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Vase in glass with turquoise and red ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s. A similar piece appears among the exam-ples of this series published by Domus, which, in its issue of De-cember 1953, suggested them as Christmas presents.195328,5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Göteborg (Sweden), Muranos glas

Vase in glass with turquoise and coral ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1940s. A similar piece appears among the exam-ples of this series published by Domus, which, in its issue of De-cember 1953, suggested them as Christmas presents.195326 cm highvenini murano ITALIA acid stamp; Caliari old labelBischofberger collection, Switzerland

>‘New Venini murrine, in yellow and green shades’, in Domus, 289, December 1953, p. 71

Vase in glass with zolfo (sul-phur-coloured) and talpa (mole-grey) ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s.195324 cm highvenini murano ITALIA acid stamp; Venini old labelChiara and Francesco Carraro Foundation, Venice

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166 167

3866

3865

3904

n.i.

3910

Bowl in glass with turquoise and red ‘a dame’ ( chessboard pattern) murrine.19539.1 cm high; 23.2 cm øvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

>Bowl and vases in glass with ‘a dame’ (chessboard pattern) murrine. Period photograph, March 1953

Bowl in glass with coral and pagliesco (straw-coloured) ‘a dame’ ( chessboard pattern) murrine.19537 cm high; 12 cm øBischofberger collection, Switzerland

Vase in glass with coral and black ‘a dame’ ( chessboard pattern) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1940s. 195320 cm highPrivate collection

Exhibitions 1953, London, Liberty, Exposition of Paolo Venini1956, Göteborg (Sweden), Muranos glas

>Period photograph, 24 March 1953. The image was published by the review The Studio, no. 147, in February 1954

Plate in glass with turquoise and talpa (mole-grey) ‘a dame’ (chessboard pattern) murrine.195323 cm øChiara and Francesco Carraro collection, Venice

Vase in glass with lattimo and zolfo (sulphur-coloured) ‘a dame’ ( chessboard pattern) murrine. The piece was pro-duced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.195323 cm highPrivate collection

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PAOLO VENINI The series of glass pieces with mezzaluna murrine was presented in 1954 at the 27th Venice Biennale and the 10th Milan Triennale. It was notable for its characteristic opaque glass material with a refined design value due to the repetition of the mezzaluna motif emerging out of a background of a contrasting colour. Original, often elongated geometric shapes, sometimes deformed by the master’s tools, were used for this series. For the chromatic combinations, delicate and/or autumnal shades were chosen. At the Venice ex-hibition, the mezzaluna murrine pieces were exhibited in the following colours: sulphur and black; turquoise and sulphur; lattimo and black.

MEZZALUNA MURRINE 1954

Exhibitions

1954, The Hague, Venetiaan Glas1954, Milan, X Triennale di Milano1954, Stockholm, Nordiska Kompaniet, Venini exhibition1954, Venice, XXVII Biennale Internazionale d’arte 1956, Göteborg, Muranos glas

Reference bibliography

10. Triennale di Milano 1954, 1954, plate XXXIIIVenetiaan Glas 1954Domus, 305, April 1955, p. 52Aloi 1955, p. 18Ernst 1955, no. 16Venedig zeigt Glas aus Murano 1958, no page numberDomus, 361, December 1959, p. 39

170 171

172 173

174 175175

3670

3707

Vase of a quadrangular design with an irregular mouth in glass with dark ametista (amethyst) and lattimo ‘mezzaluna’ (‘half-moon’) murrine. A similar exam-ple was exhibited at the 27th Venice Biennale (1954).195432 cm highPrivate collection

Exhibitions 1954, Venice, 27th Biennale

Vase with a quadrangular cross-section in glass with black and turquoise ‘mezzaluna’ (‘half-moon’) murrine. The piece was exhibited at the 27th Venice Biennale (1954).195419 cm highFondazione di Venezia collection

Exhibitions 1954, L’Aja, Venetiaan Glas1954, Milan, 10th Triennale1954, Venice, 27th Biennale

>Vases in glass with murrine ‘mezzaluna’ (‘half-moon’). Period photograph, March 1954, detail

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176 177

3885

3676

Vase with a sandglass-shaped body in glass with zolfo (sul-phur-coloured) and black ‘mez-zaluna’ (‘half-moon’) murrine. A similar example was exhib-ited in 1954 at the 27th Venice Biennale and at the 10th Milan Triennale.195417.5 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale1958, Vienna, Venedig zeigt Glas aus Murano

Vase with a tall flared neck in glass with black and turquoise ‘mezzaluna’ (‘half-moon’) mur-rine. A similar example was exhibited at the 27th Venice Biennale (1954).195432.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, L’Aja, Venetiaan Glas1954, Venice, 27th Biennale

>Vases, no. 3885, in glass with ‘mez-zaluna’ (‘half-moon’) murrine. Period photograph, c. 1954

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178 179

3887

3888

Drawing for one of the vases in glass with ‘mezzaluna’ (‘half-moon’) murrine exhibited in 1954 at the 27th Venice Biennale and at the 10th Milan Triennale.195418 cm high

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Vase in glass with black and zolfo (sulphur-coloured) ‘mez-zaluna’ (‘half-moon’) murrine. A similar example was exhibited at the 27th Venice Biennale (1954).195430 cm highPrivate collection

Exhibitions 1954, Venice, 27th Biennale1958, Vienna, Venedig zeigt Glas aus Murano

>Vase in ‘filigree glass and in mur-rina glass; obelisk with multi-co-loured threading’ in Domus, 305, April 1955, p. 52

>Vases, nos. 3887 and 3888, in glass with ‘mezzaluna’ (‘half-moon’) murrine. Period photograph, c. 1954

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3911

3884

3607

Spherical vase in glass with yellow and black ‘mezzaluna’ (‘half-moon’) murrine. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example was exhibited at the 10th Milan Triennale (1954).195412 cm highPrivate collection

Exhibitions 1954, Milan, 10th Triennale

Drawing for a vase in glass with ‘mezzaluna’ (‘half-moon’) murrine in the turquoise and zolfo (sulphur coulored) colour variant. A similar example was exhibited at the 27th Venice Biennale (1954).195424 cm high

Exhibitions 1956, Göteborg (Sweden), Muranos glas1954, Venice, 27th Biennale

Drawing for the spherical vase in glass with ‘mezzaluna’ (‘half-moon’) murrine exhibited at the 27th Venice Biennale (1954). The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. 195413.5 cm high

Exhibitions 1954, Venice, 27th Biennale

>Vase, no. 3607, in glass with ‘mezzaluna’ (‘half-moon’) mur-rine and vase, no. 3620, in glass with murrine ‘a dame’ (‘chess-board’ pattern). Period photograph, 1950s

>Vases, nos. 3607 and 3884, in glass with ‘mezzaluna’ (‘half-moon’) murrine. Period photograph, c. 1954, detail

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3886

3682

Vase with a triangular cross-section in glass with black and turquoise ‘mezzaluna’ (‘half-moon’) murrine.195432 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Small vase in glass with zolfo (sulphur-coloured) and black ‘mezzaluna’ (‘half-moon’) mur-rine. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.19549.5 cm high; 10.5 cm øThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

>Vases in glass with ‘mezzaluna’ (‘half-moon’) murrine exhibited at the 27th Venice Biennale (1954). Period photograph

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PAOLO VENINI The a puntini murrine glass pieces were presented at the 11th Milan Triennale in 1957, notable for the precious decoration of their glass material characterised by a myriad of minuscule white spots. This mostly semi-transparent tessuto was presented with very delicate chromatic combi-nations (lattimo and talpa, lattimo and verdognolo, etc.). For this series, which includes plates of various sizes (circular, boat-shaped and shell-shaped) and some vases, more definite shades were also adopted with the use of red and of opaque-coloured murrine.

A PUNTINI MURRINE 1957

Exhibitions

1957, Milan, XI Triennale di Milano1959, Corning (USA), Glass 19591960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini1960, Venice, XXX Biennale Internazionale d’arte

Reference bibliography

Pica 1957, plate XLIV cVenedig zeigt Glas aus Murano 1958, no page numberDomus, 361, December 1959, p. 39 and plateGlass 1959 1959, p. 228

186 187

188 189

190 191191

4885

3799

4460

3608

Plate in glass with lattimo and talpa (mole-grey) ‘a puntini’ (‘dotted’) murrine.19574 cm high; 20.5 cm øBischofberger collection, Switzerland

Exhibitions 1960, Milan, 12th Triennale

>Glass pieces with ‘a puntini’ (‘dotted’) murrine exhibited at the 12th Milan Triennale (1960). Period photograph, detail

Drawing for one of the glass pieces with ‘a puntini’ (‘dotted’) murrine exhibited at the 12th Milan Triennale (1960).195724 cm high

Exhibitions 1958, Vienna, Venedig zeigt Glas aus Murano1960, Milan, 12th Triennale

>Vase, no. 3799, and vase, no. 4460, in glass with ‘a puntini’ (‘dotted’)murrine. Period photograph, 1950s

>Plate and vases in glass with ‘a puntini’ (‘dotted’) murrine. Period photograph, 1950s

Vase in glass with lattimo and red ‘a puntini’ (‘dotted’) murrine. An example of this model was exhibited at the 12th Milan Triennale (1960). The piece was produced after the drawing, no. 4460, present in the Red Catalogue among the models in zanfirico glass.195714 cm highPrivate collection

Exhibitions 1958, Vienna, Venedig zeigt Glas aus Murano1960, Milan, 12th Triennale

Vases in glass with lattimo and talpa (mole-grey) ‘a puntini’ (‘dotted’) murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s. A similar example, with lattimo and red murrine, was exhibited in 1959 at the Corning Museum of Glass for the exhibition Glass 1959.195720,9 cm highvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1959, Corning (USA), Glass 1959

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192 193

4318 3871

4884

4881

Vase in glass with lattimo and talpa (mole-grey) ‘a puntini’ (‘dotted’) murrine. The piece represents the variant in glass with ‘a puntini’ murrine of the model, no. 4318, present in the catalogue of the glassworks and designed by Fulvio Bianconi in 1950.195723 cm highChiara and Francesco Carraro collection, Venice

Exhibitions 1957, Vienna, Venini Murano Glas

>Vases and bowl in glass with mur-rine. Period photograph, 1950s

Bowl in glass with lattimo and turquoise ‘a puntini’ (‘dotted’) murrine.19576.3 cm high; 12.5 cm øThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Plate in the shape of a canoe in glass with lattimo and coral ‘a puntini’ (‘dotted’) murrine with an insert in glass with black and coral ‘a dame’ (‘chessboard’ pat-tern) murrine. A similar example was exhibited at the 12th Milan Triennale (1960).1957−6035 cm widePrivate collection, Germany

Exhibitions 1960, Milan, 12th Triennale

Plate of a quadrangular shape in glass with lattimo and talpa (mole-grey) ‘a puntini’ (‘dotted’) murrine with a central insert having lattimo and verdognolo (greenish) ‘a puntini’ murrine. A similar example was exhibited at the 12th Milan Triennale (1960).195722 cm wide; 15 cm øPrivate collection

Exhibitions 1957, Milan, 11th Triennale

>Plate, no. 4881 and vase, no. 4834, exhibited at the 11th Milan Triennale (1957), in A. Pica, XI Triennale, Milano 1957

>Vase, nos. 4460 and 4318, in glass with ‘a puntini’ (‘dot-ted’)murrine. Period photograph, 1950s

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194 195

PAOLO VENINI The series of transparent murrine includes plates of various sizes (circular, boat-shaped and shell-shaped) produced with transpar-ent and semi-opaque murrine of various types which, in a furnace Table sum-marising the types of murrine, are identified by the letters from S to Z. The initial examples were presented at the 11th Triennale of Milan in 1957, at which were also exhibited some bicoloured plates having a central nucleus with square-shaped monochrome murrine surrounded by semi-opaque type-S murrine. A wider selection of this series, which documented the research and proposals of Paolo Venini, was exhibited after his death at the 30th Biennale of Venice in 1960.

TRANSPARENT MURRINE 1957–59

Exhibitions

1957, Milan, XI Triennale di Milano1960, Venice, XXX Biennale internazionale d’arte

Reference bibliography

Pica 1957, plate XLIV b no page numberDomus, 373, December 1960, pp. 32 and 57Domus, 361, December 1959, p. 39

196 197

198 199

200 201

202 203203

4881

4887

4888 4883

4884Plate in glass with lattimo and pagliesco (straw-coloured) S-type murrine having a cen-tral rectangular insertion with zaffiro (‘sapphire’) murrine. The model, which is characterised by its rectangular form with rounded angles, was also pro-posed in a different size (no. 4880, l. cm 25 x cm 15).195722.5 cm wide; 12.5 cm øPrivate collection

Plate in glass with lattimo and pagliesco (straw-coloured) S-type murrine and a central circular insertion with transpar-ent zaffiro (‘sapphire’) murrine. A similar example was exhibited at the 12th Milan Triennale (1960).195732 cm øPrivate collection

Exhibitions 1957, Milan, 11th Triennale1960, Venice, 30th Biennale

> Plate in glass with transparent S-type murrine with a mono-chrome central insertion. Period photograph, 1950s

Rectangular plate in glass with lattimo and pagliesco (straw-co-loured) S-type murrine having a central rectangular insertion with zaffiro (‘sapphire’) murrine.195727 cm wide; 20 cm ø Caliari old labelPrivate collection

> Plate in glass with ‘a puntini’ (‘dotted’) murrine and plates with transparent murrine. Period photograph, c. 1957

Plate in the shape of a canoe in zaffiro (sapphire) and black and black and grey S-type murrine glass having a central insertion with transparent grey murrine. Various examples of this model, produced with different types of murrine (A, T, Z, Y) were exhibit-ed at the 30th Biennale of Venice (1960).1957−5926 cm wide; 7.3 cm øPrivate collection

Exhibitions 1960, Venice, 30th Biennale > Venini glass pieces at the 30th Biennale of Venice (1960). Period photograph ASAC, detail

Plate in the shape of a canoe in red and white S-type murrine glass having a central insertion with transparent zaffiro (‘sapphire’ murrine).195729.5 cm wide; 7 cm øThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

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>Venini glass pieces at the 30th Venice Biennale (1960).Period photograph, ASAC

Plate of a quadrangular form in coral and white Y-type murrine. A similar example with lattimo and white Z-type murrine was exhibited at the 30th Venice Bi-ennale (1960).1957−5917.5 cm wide; 17 cm øPrivate collection

Exhibitions 1960, Milan, 12th Triennale1960, Venice, 30th Biennale

> Plate with Z-type murrine in Domus, 373, December 1960, p. 32

Plate in glass with coral and white Y- and Z-type murrine.1957−5920.5 cm øvenini murano acid stampPrivate collection

>Venini advertisement page in 12. Triennale di Milano, Milan, 1960, no page number

Plate in glass with black and zaffiro (‘sapphire’) S-type mur-rine. A similar example, of the same colour but of a greater size (no. 4887), was exhibited at the 30th Venice Biennale (1960).19573.8 cm highVenini old labelThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1960, Venice, 30th Biennale

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PAOLO VENINI The ancient technique of vetro mosaico was employed for the mosaico zanfirico series and involved the production of a glass materi-al with the joining under heat of canes or tesserae according to a pre-arranged design. In this case, the elegant decorative motif is due to segments of zanfirico lattimo of the a rete type which, arranged horizontally and vertically, stand out from the monochrome background, partly or entirely ‘covering’ the piece. Pre-sented in 1954 at the 27th Biennale of Venice and the 10th Triennale of Milan, the series was composed of artefacts in unusual shapes, often irregular and close to contemporary ceramic products. At the Venice exhibition, the mosaico zanfirico glass pieces were exhibited in the colours: talpa, black, oceano, white (colourless transparent), representing the entire chromatic range of the series. As documented by a factory note, segments of zanfirico a rete canes of the A, A wide and E types were generally used, while for the rare variant called mosaico zanfirico multicolore recourse was had to polychrome a ballottini Type N canes.

MOSAICO ZANFIRICO 1954

Exhibitions

1954, Stockholm, Nordiska Kompaniet, Venini exhibition1954, Venice, XXXX Biennale Internazionale d’arte1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Reference bibliography

Domus, 305, April 1955, p. 52Domus, 313, December 1955, no page number Stavenow 1954–55, p. 55 Ernst 1955, no. 14Domus, 316, March 1956, no page numberDomus, 361, December 1959, p. 38

208 209

210 211

212 213

214 215

3855 v n.i. 3855

3890

3859

Vase in black mosaico zanfir-ico glass with ‘netted’ lattimo canes, Type E. A similar example was exhibited at the 27th Venice Biennale (1954).195425 cm highPrivate collection

Exhibitions 1954, Venice, 27th Biennale

Vase in black mosaico zanfir-ico glass with ‘netted’ lattimo canes, Type E. The model is a variant of no. 3855 with a straight mouth.195421.5 cm highvenini murano ITALIA acid stampPrivate collection

>Mosaico zanfirico glass pieces exhibit-ed at the 27th Venice Biennale (1954). Period photograph, detail

Vase with a quadrangular cross-section in white glass with mosaico zanfirico having ‘netted’ lattimo canes, Type E. The model, of a truncated-cone shape, is characterised by its slightly bent neck and asymmetrical mouth.195424 cm highvenini murano ITALIA acid stamp; Venini old labelPrivate collection

Vase with a quadrangular cross-section in talpa (mole-grey) mosaico zanfirico glass with ‘netted’ lattimo canes, Type E. A similar example was exhib-ited at the 27th Venice Biennale (1954).195423 cm highVenini old labelMartin Cohen and José Arias collection

Exhibitions 1954, Venice, 27th Biennale

Large vase in white mosaico zanfirico glass with ‘netted’ lat-timo canes, Type E. A similar ex-ample was exhibited at the 27th Venice Biennale (1954). The piece, with an elongated body in the shape of a truncated-cone, is characterised by its inclined mouth. A version of the model in a lesser height (h 24.5 cm) is also known.195434.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, Venice, 27th Biennale

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3856

3889

3857

>Vases in mosaico zanfirico glass, nos. 3857, 3889 and 3858, exhibited at the 27th Venice Biennale (1954). Period photograph, detail

Vase with an irregular flattened cross-section in mosaico zan-firico oceano (ocean) blue glass with ‘netted’ lattimo canes, Type A, Broad. A similar example, of the same colour, was exhibited at the 27th Venice Biennale (1954).195426 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, Stockholm, Nordiska Kompaniet, Venini exhibition1954, Milan, 10th Triennale1957, Milan, 11th Triennale

Vase in black mosaico zanfir-ico glass with ‘netted’ lattimo canes, Type E. The model, with a circular base, is characterised by the steeply inclined profile of the mouth. A similar example was exhibited at the 27th Venice Biennale (1954).195425.6 cm highvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1954, Venice, 27th Biennale

>Vases in mosaico zanfirico glass, nos. 3856 and 3858, published in Domus, 305, April 1955, p. 52

Drawing for one of the vases in mosaico zanfirico glass exhibit-ed at the 27th Venice Biennale (1954). The model, with a quad-rangular base, is characterised by the profile of the mouth con-sisting of a steeply inclined sec-tion and a short straight one. 195425 cm high

Exhibitions 1954, Venice, 27th Biennale

>Vases in vetro mosaico zanfirico glass, nos. 3890, 3859 and 3889, published in Domus, 305, April 1955, p. 52

Vase in black mosaico zanfir-ico glass with ‘netted’ lattimo canes, Type A. The model, with a circular base, is characterised by a slightly swollen body and inclined mouth. A similar example was exhibited at the 27th Venice Biennale (1954).195435 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1954, Stockholm, Nordiska Kompaniet, Venini exhibition1954, Venice, 27th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

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3882 3883

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Vase in mosaico zanfirico oceano (ocean) blue glass with ‘netted’ lattimo canes, Type E.195418 cm highvenini murano ITALIA acid stampMarc Heiremans Gallery collection, Brussels

Exhibitions 1954, Stockholm, Nordiska Kompaniet, Venini exhibition

>Mosaico zanfirico glass pieces in a display window of the depart-ment store nordiska Kompaniet in Stockholm. Period photograph, 1954

Drawing for a vase in mosaico zanfirico glass exhibited at the 10th Milan Triennale (1954).195433 cm high

Exhibitions 1954, Milan, 10th Triennale

>Vases with ‘mez-zaluna’ (half-moon)murrine, a vase with mosaico zanfirico and a mosaico mul-ticolore vase exhibit-ed at the 10th Milan Triennale (1954). Period photograph

Drawing for a vase with an oval cross-section in mosaico zanfirico glass.195434 cm high

Vase in the shape of a trun-cated cone, with a triangular cross-section, in mosaico zan-firico oceano (ocean) blue glass with ‘netted’ lattimo canes, Type A.195434 cm highvenini murano ITALIA acid stampThe Olnick Spanu Collection, New York

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3849

3850

3880

3683 3854

3907

Vase with an oval cross-sec-tion in multi-coloured mosaico zanfirico glass with polychrome ‘ballottini (with ‘beads’) canes, Type N N. This is a variant of the mosaico zanfirico.195420 cm highMartin Cohen and José Arias collection

Vase with a rectangular cross-section in multi-coloured mosaico zanfirico glass with polychromatic ‘ballottini’ (with ‘beads’) canes, Type N N. This is a variant of the mosaico zanfirico.195417.3 cm highvenini murano ITALIA acid stamp

Large vase in white mosaico zanfirico glass with ‘netted’ lat-timo canes, Type A. The model is characterised by its narrow rounded shoulders and diago-nal mouth.195432.8 cm highvenini murano ITALIA acid stamp; Venini old labelThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Vase in mosaico zanfirico oceano (ocean) blue glass with ‘netted’ lattimo canes, Type A. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. 195413.2 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, Stockholm, Nordiska Kompaniet, Venini exhibition

>Vases in mosaico zanfirico glass, nos. 3683 and 3857, in Norden-fjeldske Kunstindustrimuseum Årbok, 1954−1955, p. 55

Vase with a flattened cross-sec-tion in mosaico zanfirico talpa (mole-grey) glass with ‘netted’ lattimo canes, Type A, Broad.195423 cm highvenini murano ITALIA acid stampPrivate collection

Vase in mosaico zanfirico zaffiro (sapphire) glass with ‘netted’ lattimo canes, Type A, Broad. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s.195427 cm highvenini murano ITALIA acid stampPrivate collection

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PAOLO VENINI The glass pieces of the mosaico multicolore series (also called mosaico tessuto multicolore or mosaico tessuto) are notable for their char-acteristic pattern formed by a variegated composition of rectangular tesserae in tessuto glass with fine coloured threads in delicate shades. To execute them, the vetro mosaico technique was used, providing for the production of a glass tessuto and the joining under heat of tesserae following a pre-established design. In this case, tesserae of varying sizes were arranged in accordance with an apparently random criss-cross pattern. For this series, exhibited at the 27th Venice Biennale and the 10th Triennale of Milan in 1954, new organic shapes were used which, like those of the mosaico zanfirico pieces, appear to have been borrowed from ceramic productions. These glass pieces, like the contemporary zanfirico reticel-lo, mosaico zanfirico and mezzaluna murrine series, were greatly praised by Gio Ponti, who pointed out their exceptional nature in Domus (April 1955, p. 52).

MOSAICO MULTICOLORE 1954

Exhibitions

1954, Venice, XXXX Biennale Internazionale d’arte1954, Milan, X Triennale di Milano

Reference bibliography

10. Triennale di Milano 1954, 1954, plate XXXIIIDomus, 305, April 1955, p. 52Domus, 313, April 1955, no page number.

224 225

226 227

228 229

230 231

3850

3881

3851

Vase with a rectangular cross-section in mosaic glass having a multi-coloured tessuto. A similar example was exhibited at the 27th Venice Biennale (1954).195416 cm highvenini murano ITALIA acid stamp

Exhibitions 1954, Venice, 27th Biennale

Vase in mosaic glass with a multi-coloured tessuto. A sim-ilar example was exhibited at the 27th Venice Biennale (1954). The model, with a cylindrical body, is characterised by a wide flared neck.195427 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1954, Venice, 27th Biennale

>Mosaic glass pieces with a multi-co-loured tessuto ex-hibited at the 27th Venice Biennale (1954). Period photograph

Vase in mosaic glass with a multi-coloured tessuto. The model, with a quadrangular cross-section, is characterised by its wide flared neck.195418 cm highPrivate collection

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3854

3887

38533855

3880

3855 b

Vase with a flattened cross-sec-tion in mosaic glass having a multi-coloured tessuto.195423 cm highPrivate collection

Drawing for one of the vases in mosaico multicolore glass exhibited at the 10th Milan Triennale (1954).195418 cm high

Exhibitions 1954, Milan, 10th Triennale

>Venini vases exhibited at the 10th Milan Triennale. Period photograph, detail

Drawing for one of the vases in mosaico multicolore glass illus-trated in the pages of Domus, in April 1955.195413 cm high

>‘Vases in glass with a mosaico multicolore’ in Domus, 305, April 1955, p. 52

Vase in mosaic glass with a multi-coloured tessuto. The model, in the shape of a trun-cated cone, is characterised by the slightly bent neck and asymmetrical mouth. A similar example was exhibited at the 27th Venice Biennale and at the 10th Milan Triennale in 1954.195421,5 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Large vase in mosaic glass with a multi-coloured tessuto. The model is characterised by its narrow rounded shoulders and diagonal mouth.A similar example was exhibited at the 27th Venice Biennale and at the 10th Milan Triennale in 1954.195432 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

Vase in the shape of a truncat-ed cone in mosaic glass with a multi-coloured tessuto. The model is a variant on no. 3855.195420 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

>‘Vases in glass with a mosaico multicolore’ in Domus, 305, April 1955, p. 52

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PAOLO VENINI This is a small series of pieces in thick glass with a typi-cal delicately ground cold-finished surface. To produce them, as for the series of incisi (engraved) pieces, layered glass was used with several layers of colour in evocative shades. The pieces in this series were characterised also by their soft shapes and oval cross-section. Some models of the series were also proposed in engraved glass.

DIAFANI c. 1956

Exhibitions

1960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini

Reference bibliography

Domus, 324, November 1956, p. 37

236 237237

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3897

3898

3899

Vase with an oval cross-section in mare (‘sea’) light-blue pesante glass, with layered colours, finished with light grinding over the whole surface.195630.5 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for a vase of the diafani series to be produced in com-posite pesante glass, with lay-ered colours, and to be finished with light grinding over the whole surface.195628 cm high

Drawing for a vase of the diafani series to be produced in com-posite pesante glass, with lay-ered colours, and to be finished with light grinding over the whole surface.195616 cm highvenini murano ITALIA acid stampPrivate collection

Large vase with an oval cross-section in corniola (car-nelian-coloured) pesante glass, with layered colours, finished with light grinding over the whole surface. The model was also used for the production of wheel-engraved glass pieces.195645 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1960, Milan, 12th Triennale

>Vases, nos. 4802 and 3899, ex-hibited at the 12th Milan Trien-nale (1960). Period photograph

> Vase of the incisi (engravings) series, no. 4807, and a vase of the diafani series, no. 3899. Period photograph, 1950s

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PAOLO VENINI This series is one of the most representative productions of Paolo Venini in the latter half of the 1950s. The incisi are pieces in thick glass, cold-finished with slight grinding and closely packed horizontal engraved lines obtained with the help of a wheel with a serrated edge. These pieces were no-table also for their characteristic shades of colour, delicate but definite, result-ing from the superposing of various layers of transparent coloured glass. Venini gave evocative and appealing names to them, such as for example erba, acqua, bronzo, notte etc. The series of engraved glass pieces, which included some fifty models with essential lines, was exhibited in 1956 at the 28th Venice Biennale and the following year at the 11th Triennale of Milan, meeting with notable suc-cess also internationally, particularly in Northern Europe. In designing the series Venini had been influenced particularly by Scandinavian design, with which he was very familiar due to his travels in the countries of the North and which in those years was particularly well established in Italy.

INCISI 1956–57

Exhibitions

1956, Paris, Les nouveaux verres de Murano1956, Venice, XXVIII Biennale Internazionale d’arte1957 Baden Baden, Venini. Gläser aus Murano1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Linz, Gläser von Venini-Murano und Orrefors-Schweden1957, Milan, 11th Triennale of Milan1957, Vienna, Venini Murano Glas1958–59, Germany (Kassel, Cologne, Düsseldorf, Dortmund, Tubingen), Ausstellung der dekorativen Kunst in Venetien, travel-ling exhibition1958, Vienna, Venedig zeigt Glas aus Murano1959, Corning (USA), Glass 19591959, Helsinki, Artek, Venini exhibition1959, Munich, Die Neue Sammlung 1960, Stockholm, Nordiska Kompaniet, Paolo Venini commemo-rative exhibition

1960, Milan, XII Triennale di Milano, Paolo Venini commemorative exhibition

Reference bibliography

Domus 324, November 1956, p. 37Domus, 325, December 1956, p. 39 and no page numberKorsmo 1957, p. 113Pica 1957, plate XLIV b-cSiepen 1957, p. 6 Venini Murano, Orrefors Schweden: Glas 1957, nos. 71 e 82Stennett-Willson 1958, p. 97Venedig zeigt Glas aus Murano 1958, no page numberGlass 1959 1959, pp. 224, 226–228Domus, 361, December 1959, p. 40 and plateDie Schaulade, 8, 1964, p. 1053Warnecke 1965, p. 73

240 241

242 243

244 245

246 247

248 249

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4462

Small vase in acerbo (‘sour-green’) pesante glass with acer-bo layered colours, finished with horizontal light grinding over the whole surface. The piece is part of a series of four models in reduced dimen-sions (4461−4464) produced for the Swedish department store, Nordiska Kompaniet.195611.5 cm; 12 cm; 8 cm highvenini murano ITALIA acid stampPrivate collection

>Vase, no. 4462, in glass finished with light grinding and wheel-engravedover the whole surface. Period photograph, 1950s

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250 251

3681

3683

4807

4811

>Wheel-engraved glass pieces exhibit-ed at the 28th Venice Biennale (1956) in Domus, 325, December 1956, no page number

>Vases, bowl and can-delabra in wheel-en-graved glass. Period photograph, 1950s

Vase in acqua (‘water’) light blue pesante glass, finished with horizontal light grinding over the whole surface, exhibited at the 28th Venice Biennale (1956). On that occasion the piece was presented in violetta (light-vi-olet) glass. The vase was pro-duced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. 195618 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

Vase in the shape of a truncat-ed cone in notte (‘night’) blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The vase was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example in notte glass was exhibited at the 28th Venice Biennale (1956).195613 cm highvenini murano ITALY acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in the shape of a truncated cone in acqua (‘water’) light-blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in bronzo (‘bronze’) glass was exhibited at the 28th Venice Biennale (1956).195621 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in the shape of a truncated cone in violetta (light-violet) pesante glass, with layered co-lours, finished with horizontal light grinding over the whole surface.195616.5 cm highvenini murano ITALY acid stamp; Venini old labelPrivate collection

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4834 4837

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Drawing for a bowl with an oval cross-section belonging to the series of composite pesanti glass pieces, with layered co-lours, finished with horizontal light grinding over the whole surface. The model, notable for the characteristic profile of the mouth which is lower in the central part than at the two extremities, was also proposed with a reduced height and a rounder body (no. 4842: h 12 cm, ø 31 cm).195616 cm high; 32 cm wide

Large vase with a flattened cross-section in acqua (‘water’) light-blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface.The model is notable for the characteristic profile of the mouth, which is lower in the central part than at the two extremities.195626.5 cm high; 38.2 cm øvenini murano ITALIA acid stampPrivate collection

Vase with an oval cross-section in violet pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The model is notable for the characteristic profile of the mouth, which is lower in the central part than at the two extremities.195617 cm highPrivate collection

Exhibitions 1958, Vienna, Venedig zeigt Glas aus Murano

>Wheel-engraved vas-es, nos. 4840, 4802 and 4146. Period photograph, 1950s

Drawing for a small vase with a flattened cross-section belong-ing to the series of composite pesanti glass pieces, with lay-ered colours, finished with hor-izontal light grinding over the whole surface.19567 cm high; 12 cm wide

Vase with an oval cross-section in notte (‘night’) blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The model is notable for the characteristic profile of the mouth, which is lower in the central part than at the two extremities.195613 cm highvenini murano ITALIA acid stampPrivate collection

Small vase with an oval base in aurato (golden: light-rose and yellow) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface.19569 cm high; 14.5 cm widePrivate collection

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Bowl in acqua (‘water’) light-blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in violetta (‘light-violet’) glass was exhibited at the 28th Venice Biennale (1956).195614.5 cm high; 30.5 cm øvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Milan, 11th Triennale

>Wheel-engraved glass pieces exhibited at the 11th Milan Triennale (1957) in A. Pica, XI Triennale, Milan 1957

Bowl in putrido (‘rotten’) green pe-sante glass, with layered colours, finished with horizontal light grind-ing. The model, no. 4823, represents the version in pesante glass of no. 3767 present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1940s. A similar example in engraved acerbo (‘sour green’) glass was exhibited at the 28th Venice Biennale (1956).195613.5 cm high; 18 cm øvenini murano ITALY acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas1959, Corning (USA), Glass 1959

Drawing for a small vase with a flattened cross-section belong-ing to the series of composite pesanti glass pieces, with layered colours, finished with horizontal light grinding over the whole surface.195628 cm wide

>Vases and a bottle in glass finished with fine wheel-engraving. Period photograph, 1950s

Drawing for a bowl with an oval cross-section belonging to the series of composite pesanti glass pieces, with layered co-lours, finished with horizontal light grinding over the whole surface.195611 cm high; 24 cm ø

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Drawing for a bowl with an oval cross-section belonging to the series of composite pesanti glass pieces, with layered co-lours, finished with horizontal light grinding over the whole surface.195616 cm high; 28 cm wide

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4802

4803

4840

4835

4812

4821

Bowl with an oval cross-section having rounded shoulders in vio-letta (light-violet) pesante glass, with layered colours, finished with horizontal light grinding. A similar example in acqua (‘water’) light-blue glass was exhibited at the 28th Venice Biennale (1956).195611 cm high; 17.5 cm øvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Paris, Les nouveaux verres de Murano1956, Venice, 28th Biennale

>Wheel-engraved vases, nos. 4811 and 4802. Period photograph, 1950s

Vase with flattened globe-shaped body in orange bruciato (‘burnt’) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in acqua (‘water’) light-blue glass was exhibited at the 28th Venice Biennale (1956).195610 cm high; 22 cm øvenini murano ITALIA acid stamp; Venini old labelPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in corniola (carnelian-co-loured) pesante glass with layered colours, finished with horizontal light grinding over the whole surface.195622 cm highvenini murano ITALIA acid stampPrivate collection

>Wheel-engraved vases, nos. 4840, 4802 and 4821. Period photograph, 1950s, detail

Large vase with a flattened cross-section in white and zaf-firo (sapphire) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface.195632 cm highFondazione Musei Civici di Venezia, Museo del Vetro collection

Exhibitions 1957, Milan, 11th Triennale1958, Vienna, Venedig zeigt Glas aus Murano

Vase in oliva (‘olive’) green pesante glass, with layered co-lours, finished with horizontal light grinding over the whole surface.195631.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Milan, 11th Triennale1958, Vienna, Venedig zeigt Glas aus Murano

Wheel-engraved glass pieces, nos. 4840, 4802 and 4821. Period photograph, 1950s

Large vase in acciaio (‘steel’) grey pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. 195639 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Wheel-engraved vases, nos. 4828, 4821 and 4812. Period photograph, 1950s

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Large vase with an oval design in fogliame (leaf-coloured) green pesante glass, with layered co-lours, finished with horizontal light grinding over the whole surface. 195638 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1958, Vienna, Venedig zeigt Glas aus Murano

>Wheel-engraved vases, nos. 4828, 4825 and 3681. Period photograph, 1950s

Large vase in erba (‘grass’) pesante glass, with layered co-lours, finished with horizontal light grinding over the whole surface. The model has a small flared foot developed out of the body of the piece.195640.3 cm highvenini murano ITALY acid stampPrivate collection

>Mezza filigrana plate and wheel-engraved glass pieces. Period photograph, 1950s. The image was used on the occasion of the Venini Murano Glas exhi-bition, Vienna, 1957

Large vase in acqua (‘water’) light-blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The model has a small flared foot developed out of the body of the piece, which has a slight swelling half-way up.195650 cm highvenini murano ITALY acid stampPrivate collection

Exhibitions 1958, Vienna, Venedig zeigt Glas aus Murano

>Wheel-engraved vases, nos. 4829, 4836 and 3681. Period photograph, 1950s

Large vase in fogliame (leaf-co-loured) green pesante glass with layered colours, finished with horizontal light grinding over the whole surface. The model has a small flared foot developed out of the body of the piece.195651 cm highPrivate collection

>Wheel-engraved glass pieces, nos. 4839 and 4837. Period photograph, 1950s, detail

>Vases and bowl in finely wheel-en-graved glass. Period photograph, 1950s

Vase in corniola (carnelian-co-loured) pesante glass with lay-ered colours, finished with hor-izontal light grinding over the whole surface. The model has a small flared foot developed out of the body of the piece.195631 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in grey ferro (‘iron’) pesante glass, with layered colours, finished with light grinding and horizontally wheel-engraved. A similar example in notte (‘night’) blue glass was exhibited at the 28th Venice Biennale (1956).195625.5 cm highvenini murano ITALIA acid stamp; Venini old labelPrivate collection

Exhibitions 1956, Paris, Les nouveaux verres de Murano1956, Venice, 28th Biennale

>Wheel-engraved vase, no. 4804. Period photograph, 1950s

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Vase in grey ferro (‘iron’) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in ottone (‘brass’) glass was exhibited at the 28th Venice Biennale (1956).195626 cm highvenini murano ITALIA acid stampPrivate collection, Udine

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Wheel-engraved glass pieces, nos. 4806 and 4815. Period photograph, 1950s

Vase with an oval cross-section in bronzo (‘bronze’) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in ferro (‘iron’) glass was exhibited at the 28th Venice Biennale (1956).195629 cm highvenini murano ITALIA acid stampPrivate collection Exhibitions 1956, Venice, 28 th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Wheel-engraved vases, nos. 4807, 4811 and 4810. Period photograph, 1950s

Large vase with an oval cross-section in bronzo (‘bronze’) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The model was proposed in two different heights (h 39 cm, h 30 cm).195640 cm highvenini murano ITALIA acid stampPrivate collection, Udine

>Wheel-engraved vases, nos. 4810, 4802 and 4822. Period photograph, 1950s

>Vases in wheel-en-graved glass. Period photograph, 1950s

>Vases, bowl and jew-el box in wheel-en-graved glass.Period photograph, 1950s

Vase in bronzo (‘bronze’) pesante glass, with layered colours, finished with light grinding and horizontally wheel-engraved over the whole surface.195619 cm highvenini murano ITALIA acid stampPrivate collection

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Vase in corniola (carnelian- coloured) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. A similar example in acqua (‘water’) light-blue glass was exhibited at the 28th Venice Biennale (1956).195633 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1956, Paris, Les nouveaux verres de Murano1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in acerbo (‘sour green’) pe-sante glass, with layered colours, finished with horizontal light grinding over the whole surface. The piece was exhibited at the 28th Venice Biennale (1956).195621 cm highvenini murano ITALIA acid stamp; Venini old labelFondazione di Venezia collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Wheel-engraved vases, nos. 4805 and 4814. Period photograph, 1950s

Vase in violet pesante glass, with layered colours, finished with light grinding and horizon-tally wheel-engraved over the whole surface. 195642 cm highBischofberger collection, Switzerland

>Wheel-engraved vases, nos. 4800, 4813 and 3681. Period photograph, 1950s

Vase in red prugna (‘plum’) pesante glass, with layered co-lours, finished with light grinding and horizontally wheel-engraved over the whole surface.195615 cm highFondazione Giorgio Cini collection, Venice

>Vases and bowl in wheel-en-graved glass. Period photograph, 1950s

Large bottle in red, pagliesco (straw-coloured) and white pe-sante glass, with layered colours, finished with horizontal light grinding over the whole surface. Model no. 4815 represents the ver-sion in pesante glass of no. 3844 (cf. zanfirico). A similar example in bronzo (‘bronze’) wheel-engraved glass, identified by the latter number, was exhibited at the 28th Venice Biennale (1956).195644 cm highvenini murano acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1956, Venice, 28th Biennale

Bottle with an oval cross-section in notte (‘night’) blue pesante glass, with layered colours, fin-ished with horizontal light grind-ing. Model no. 4816 represents the version in pesante glass of no. 4331 present in the catalogue of the glassworks and designed by Fulvio Bianconi in 1950 (cf. a macchie). A similar example in putrido (‘rotten’) green wheel-en-graved glass, identified by the latter number, was exhibited at the 28th Venice Biennale (1956).195634.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Wheel-engraved glass pieces in Do-mus, 361, December 1959, p. 41

>Wheel-engraved glass pieces in Do-mus, 325, December 1956, p. 39

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Oval plate in acerbo (‘sour green’) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface.195638.5 cm widevenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Fruit stand in notte (‘night’) blue pesante glass, with layered co-lours, finished with horizontal light grinding over the whole surface. The model has a small flared foot developed out of the body of the piece.195617 cm high; 45 cm øvenini murano ITALIA acid stampPrivate collection

Small vase with a cylindrical body in red pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The model was also proposed in different proportions (no. 4849: h 6 cm, l 13 cm).195613 cm highPrivate collection, Venice

>Wheel-engraved glass pieces, nos. 4813 and 4848. Period photograph, 1950s

Catalogue drawing for a plate of an irregular round shape belonging to the series of com-posite pesanti glass pieces, with layered colours, finished with horizontal light grinding over the whole surface.195619 cm ø

Drawing for a plate in an asym-metric oblong shape belonging to the series of composite pe-santi glass pieces, with layered colours, finished with horizontal light grinding over the whole surface. The model was also proposed in different propor-tions and a more elongated form (no. 4831: l cm 30).195623 cm wide

Drawing for a large ashtray with a quadrangular base belonging to the series of composite pe-santi glass pieces, with layered colours, finished with horizontal light grinding over the whole surface. The model was also proposed in different sizes (no. 4847: h 4.5 cm, l 13 cm).19565 cm high; 16 cm wide

Candleholder in yellow ottone (‘brass’) pesante glass, with lay-ered colours, finished with hori-zontal light grinding. A similar ex-ample in acqua (‘water’) light-blue glass was exhibited at the 28th Venice Biennale (1956). The mod-el was also produced in three dif-ferent heights (h 15 cm, h 22 cm, h 25 cm) and was also proposed for the production of bud vases of a similar form (no. 4818).195622 cm highvenini murano ITALIA acid stamp; Venini old labelPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Candleholders and wheel-en-graved vase, no. 4802. Period photograph, 1950s

Candleholder in composite corniola (carnelian-coloured) glass, with layered colours, finished with horizontal light grinding over the whole surface. The model was also produced in slightly smaller dimensions (no. 4827: h 5 cm and ø10 cm).19564.3 cm high; 12.8 cm øvenini murano ITALIA acid stamp; Venini old labelPrivate collection

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Bottle with a stopper in corniola (carnelian-coloured) pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The piece has a quadrangular cross-section and a stopper in the shape of a skull cap.1956−5718.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas1960, Milan, 12th Triennale

Bottle with stopper in oliva (‘olive’) green pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The piece has a body with an oval cross-section and stopper with two layered spheres.1956−5728.5 cm highvenini murano ITALIA acid stampPrivate collection

Bottle with stopper in notte (‘night’) blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The piece has a round body with a trian-gular cross-section and a stop-per in the shape of a skull cap.1956−5719 cm high Venini old labelBischofberger collection, Switzerland

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas1959, Corning (USA), Glass 19591960, Milan, 12th Triennale

>Bottles in wheel-en-graved glass exhibit-ed at the 12th Milan Triennale (1960). Period photograph

Bottle with stopper in oceano (‘ocean’) blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface.1956−5726 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale

Bottle with a stopper in or-ange bruciato (‘burnt’) pesante glass, with layered colours, finished with horizontal light grinding over the whole sur-face. The piece has a triangular cross-section and a conical stopper.1956−5735 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas1960, Milan, 12th Triennale

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Bottle with a stopper in acqua (‘water’) light-blue pesante glass, with layered colours, finished with horizontal light grinding over the whole surface. The bottle is of a quadrangular design with a depression on two opposite sides and an elongated stopper.1956−5731 cm highvenini murano ITALIA acid stampPrivate collection

>Bottles in finely wheel-engraved glass. Period photograph, 1950s

Bottle with stopper in erba (‘grass’) pesante glass, with lay-ered colours, finished with hor-izontal light grinding over the whole surface. The bottle is of a rectangular design with a de-pression on two opposite sides and a tall round stopper.1956−5722 cm highvenini murano ITALIA acid stampGerardo Figliola collection, Turin Gallery, Turin

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PAOLO VENINI During the 1950s the theme of the decorative bottle re-curred several times in the production of the Venini glassworks. In the early years of the decade this involved a small number of pieces, due mostly to the contri-bution of individual authors such as Gio Ponti — bottle for APEM (1946–48) and Morandi bottles, etc. shown at the Italy at Work (1950–53) exhibition — and Ful-vio Bianconi — bottles with horizontal and vertical bands (1950–51). From 1956 onwards Paolo Venini gave new interpretations to this theme, either by re-visiting models already in the company’s catalogue or proposing new forms. He had re-course once again to the traditional Murano techniques — such as zanfirico and mezza filigrana glass — and also glass with intensely coloured vertical canes. Many of these examples were shown at the Venice Biennale of 1956, where the glassworks exhibited fifteen bottles, among which models previously designed by Gio Ponti and now produced in new colours. 1959, on the other hand, saw a small series of bottles in coloured transparent glass decorated at the centre by a band of mezza filigrana of a contrasting colour and joined using the incalmo technique. To the same period belongs a small series of bottles in layered glass of various sizes, which borrow their shapes from perfume bottles, while the 16th-century models present in the Murano Glass Museum were the source of inspiration for the bottles with a geometric base in transparent coloured glass with threads of glass paste turning in a spiral around the body of the piece.

BOTTLES 1956–59

Exhibitions

1956, Paris, Les nouveaux verres de Murano1956, Venice, XXVIII Biennale internazionale d’arte1957, Frankfurt, Gläser von Venini-Murano und Orrefors-Schweden1957, Linz, Venini-Murano und Orrefors-Schweden1957, Vienna, Venini Murano Glas1959, Corning (USA), Glass 19591959, Munich, Die Neue Sammlung 1960, Stockholm, Nordiska Kompaniet, Paolo Venini commemo-rative exhibition 1960, Venice, XXX Biennale Internazionale d’arte

Reference bibliography

Domus, 325, December 1956, no page number.Verres Murano 1956, 1956Stennett-Willson 1958, p. 46Glass 1959 1959, pp. 225–226Domus, 361, December 1959, p. 41 with plateDomus, 377, April 1961, p. 56Die Schaulade, 8, 1964, p. 1053

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> Bottles in filigree glass. Period photograph, 1950s

Bottle with stopper in glass in six colours. A similar example in zanfirico glass with lattimo S canes and white stopper was exhibited at the 28th Venice Bi-ennale (1956).195636.4 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1956, Venice, 28th Biennale

> Bottles in glass with canes exhibited at the 28th Venice Biennale in Domus, 361, December 1959, p. 41

Large bottle with stopper in zan-firico glass with vertical ‘netted’ canes, Type D, in lattimo glass and zaffiro (sapphire) glass. The model is characterised by the variable cross-section of the body with an oval base having the upper part turned at an angle of 90° with respect to the lower. This design represents a variant with a stopper of no. 4404 created by Fulvio Bianconi in 1951.195650 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Large bottle with stopper in zanfirico glass having lattimo twisted Type E canes. A similar example, with the same tessuto, was exhibited at the 28th Venice Biennale (1956). The model represents a variant with stopper and in zanfirico glass of no. 3844.195653 cm highPrivate collection

Exhibitions 1956, Paris, Les nouveaux verres de Murano1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Large bottle with stopper in glass with broad talpa (mole-grey) and lattimo canes. A similar example, in glass with broad zaffiro (sapphire) and green canes, and one in zanfirico glass with ciclamino (cyclamen) M canes were exhibited at the 28th Venice Biennale (1956).195646 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Paris, Les nouveaux verres de Murano1952, Venice, 26th Biennale

>Bottles at the 28th Venice Bien-nale (1956). Period photograph

Bottle with stopper in glass with sommerso (submersed) ametista (amethyst) mezza filigrana. The model represents the variant with stopper and in mezza filigrana glass of no. 4331 designed by Fulvio Bianconi in 1950 for the a macchie series.195641 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Paris, Les nouveaux verres de Murano1956, Venice, 28th Biennale

> Bottles in glass with canes. Period photograph, 1950s

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Drawing for a large bottle with stopper to be produced in glass with canes.195648 cm high

Bottle with stopper in ametista (amethyst) glass with a central band in turquoise filigree glass hot-joined using the incalmo technique. A similar example in talpa (mole-grey) glass with a sky-blue filigree band was ex-hibited at the 30th Venice Biennale (1960).195933.5 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1960, Venice, 30th Biennale

Bottle with stopper in verdogno-lo (greenish) glass with a central band in coral filigree glass hot-joined using the incalmo tech-nique. A similar example in ametista (amethyst) glass with a turquoise filigree band was exhibited at the 30th Venice Biennale (1960).195938 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1960, Venice, 30th Biennale

> Bottles with a band in filigree, nos. 4746 and 4748. Period pho-tograph,November 1959, pub-lished in Domus, 361, December 1959, no page number

Bottle with stopper in talpa (mole-grey) glass with a central band of yellow filigree glass hot-joined using the incalmo technique. A similar example in sky-blue glass was exhibited at the 30th Venice Biennale (1960).195935 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Venice, 30th Biennale

> Bottles with a band in filigree, nos. 4746, n. 4747 and 4748. Period photograph, c. 1960

Large bottle in glass with acqua-mare and ametista (amethyst) canes and a spherical stopper.195641 cm highvenini murano ITALIA acid stampPrivate collection

Large bottle with stopper in glass with lattimo and ametista (amethyst) canes. Stopper in lattimo glass. 195648 cm highvenini murano italia acid stampPrivate collection

>Bottles, nos. 4479, 4498 and 4580. Period photograph, 1950s

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Large bottle with a rectangular base in composite notte (night) blue glass with several layers of colour.195942 cm highvenini murano ITALIA acid stamp; Venini old labelPrivate collection

> Bottles and a box in composite glass and sandglasses. Period photograph, c. 1960

Bottle with a circular base in composite oceano (ocean) blue glass with several layers of colour. This series also included a box in composite glass, with a circu-lar base, identified with no. 4144.195914,5 cm highvenini murano ITALIA acid stampPrivate collection

Bottle with a square base in prugna (plum) composite glass with several layers of colour.195924 cm highPrivate collection

> Interior of the Venini shop in Calle XXIII Marzo, Venice. Period photograph, 1960s

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Bottle with a triangular cross-section in turquoise glass decorated with an ap-plied thread of dark-blue glass wound in a spiral around the body of the piece. Stopper in dark-blue glass.195934 cm highvenini murano ITALIA acid stampPrivate collection

Bottle with a quadrangular cross-section in oliva (‘olive’)green glass decorated with a thread of black glass, applied and wound in a spiral around the body of the piece. Stopper in black glass.195922 cm highvenini murano ITALIA acid stampGerardo Figliola collection, Turin Gallery, Turin

>Bottles, nos. 8401 and 8404, on a shelf of the Venini shop in Calle XXIII marzo, Venice. Period photograph, 1960s, detail

Bottle with a hexagonal cross-section in acquamare glass decorated with a thread of green glass applied and wound in a spiral around the body of the piece. Spherical stopper in opaque green glass.195920 cm highvenini murano italia acid stamp

Bottle in glass with anthra-cite-grey canes. Stopper in red glass.195920 cm highvenini murano ITALIA acid stampPrivate collection

Bottle in glass with verd antique canes and stopper in anthra-cite-grey glass.195927.5 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for a bottle in glass with canes.195916 cm high

Bottle with a quadrangular cross-section in yellow glass decorated with a thread of red glass applied and wound in a spiral around the body of the piece. Spherical stopper in opaque red glass.195917.5 cm highVenini old labelPrivate collection

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PAOLO VENINI This was one of the last of Paolo Venini’s productions, who in the design of this small series revisits the shapes of the 18th-century compotes used as apothecary jars. Six models were proposed, three with disc-shaped foot and three with flared foot, characterised by delicate hues and pro-duced in different sizes.

COMPOTES 1959

Exhibitions

1960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini1960, Stockholm, Nordiska Kompaniet, Paolo Venini commemo-rative exhibition

Reference bibliography

Domus, 359, October 1959, p. 56Domus, 361, December 1959, plateDomus, 389, April 1962, pp. 42–43

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Vase with a lid in transparent dark ametista (amethyst) glass. The model, with a disk-shaped foot, was proposed in three dif-ferent heights (h 44 cm, h cm 35 and h 28 cm).195930.5 cm highvenini murano ITALIA acid stampPrivate collection

Vase with a lid in transparent grey-green glass. The model, with a globe-shaped body, was proposed in three different heights (h 37 cm, h 23 cm and h 17 cm).195922 cm highvenini murano acid stampPrivate collection

Vase with a lid in transparent light-green glass. The model, with a disk-shaped foot and stem with a knot, was proposed in two different heights (h 45 cm and h 35 cm).195946 cm highvenini murano acid stampPrivate collection

> Vases with lids called ‘apothecary jars’. Period photograph, early 1960s C

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Vase with a lid in transparent dark ametista (amethyst) glass. The model, with a cylindrical body, was proposed in three different heights (h 40 cm, h 33 cm, h 22 cm).195921.5 cm highvenini murano ITALIA acid stampPrivate collection

Vase with a lid in transparent ciclamino (cyclamen) glass. The model, with a flared foot, was proposed in three different heights (h 40 cm, h 34 cm and h 22 cm).195921 cm highPrivate collection

Vase with a lid in transparent rose-coloured glass. The model, with a small flared foot and cylindrical body, was proposed in two different heights (h 35 cm and h 24 cm).c. 195926 cm highvenini murano ITALIA acid stampPrivate collection

> Vases with lids called ‘apothecary jars’. Period photograph, 1960s

>Vasi 1959 in Domus, 361, December 1959, no page number

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PAOLO VENINI At the Venini glassworks obelisks in glass had been pro-posed as early as the 1930s by Tomaso Buzzi as centre-table pieces of classi-cal derivation but were not produced. It was only after the war that this type of decorative element entered the catalogue of the glassworks and, as it met with significant success, it was produced in numerous variations over the next fifty years. The first examples were seen at the Biennale of Venice in 1948, where obelisks were exhibited in colourless transparent glass with a flame-like deco-ration, either on a circular base or on a pedestal. Also belonging to this family are conical shaped pieces with rounded tops, but in general the obelisks are charac-terised by their prism-shaped body mostly without a base or with a flared base, also prism-shaped. From the early 1950s they were proposed in a monochrome version often with delicate colouring, but also in shades of yellow and blue. A series of pieces with a variable circular cross-section and flattened point, with ballottino multicolore (multicoloured intertwined thread) can be dated to 1954 and represents an original interpretation of this type of piece.

OBELISKS 1948–59

Exhibitions

1948, Venice, 24th Biennale Internazionale d’arte1950, Stockholm, Nordiska Kompaniet, Venini exhibition1950–53, USA, Italy at Work1951, Milan, IX Triennale di Milano1951, Stockholm, Nordiska Kompaniet, Venini exhibition1952, Venice, XXVI Biennale internazionale d’arte1953, Copenhagen, Illums Bolighus, Venini’s glaskünst 1953, Geneva, Les Artisans Vénitiens1953, Stockholm, Nordiska Kompaniet, Venini exhibition1954, The Hague, Venetiaan Glas1954, Milan, X Triennale di Milano1954, Venice, XXVII Biennale Internazionale d’arte1954, Stockholm, Nordiska Kompaniet, Venini exhibition1957 Baden-Baden, Venini. Gläser aus Murano 1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Milan, 11th Triennale di Milano1957, Vienna, Venini Murano Glas1960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini

Reference bibliography

L’art présent, 9, May 1949, p. 45Die Schaulade, 12, 1951, p. 301Zetti, Spreafico 1952, p. 8810. Triennale di Milano 1954, 1954, plate XXXIIIItalian glass, Rome [1954], p. 37Aloi, 1955, p. 15Domus, 316, March 1956, no page numberVenini Murano, Orrefors Schweden: Glas, Hanover 1957, no. 49Pica 1957, plate XLI bDomus, 361, December 1959, p. 40

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Large obelisk with a square base in colourless transparent glass with a flamelike decoration in opaque red glass. The model was also proposed in other dimen-sions (no. 2891, h 40 cm; no. 2893, h 20 cm) and also with a square base with smoothed corners (no. 2882, h cm 20, h cm 30, h cm 40).1948−4934.5 cm highvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition1951, Milan, 9th Triennale1952, Venice, 26th Biennale

> Obelisks with a flamelike decoration. Period photograph, February 1951

Drawing for an obelisk with a circular base, rounded point and flamelike decoration. The model was also proposed in other dimensions (no. 2883, h 30 cm, Ø cm 6.5; no. 2898 h 32, cm Ø 7.5; no. 2899, h 20 cm).1948−4940 cm high

Obelisk with an octagonal base in colourless transparent glass with a lattimo and violet flame-like decoration. The model was also proposed in other dimen-sions (no. 2881, h 37 cm; no. 2918, h 40 cm; no. 2920, h 30 cm).1948−4919 cm highPrivate collection

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition

> Tiepolo figure and obelisks with a flamelike decoration. Period photograph, 1950s.

Large obelisk with an octagonal base in colourless transparent glass with a lattimo flamelike decoration. Cylindrical pedestal in lattimo cased glass. The mod-el represents the ‘special’ vari-ant of no. 2880 (h 50 cm). At the 24th Venice Biennale (1948) a model was also presented with a prismatic pedestal (no. 2885).194866 cm highvenini murano MADE IN ITALY acid stampPrivate collection

Exhibitions 1948, Venice, 24th Biennale

> Obelisk, no. 2880. Period photo-graph, September 1950

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Obelisk with a twisted body in colourless transparent glass and a flamelike decoration in lattimo and ametista (amethyst) glass.c. 195139 cm highvenini murano ITALIA acid stampPrivate collection

Large obelisk with a disk-shaped foot and stem with a knot, in colourless transparent glass with a flamelike decora-tion in opaque red glass.c. 195141 cm highvenini murano ITALIA acid stampPrivate collection, Germany

Large obelisk of a square design on a pedestal in green trans-parent glass. The model rep-resents a ‘special’ variant of no. 4150 (h 36 cm), which was also proposed in a smaller size (no. 4251, h 24 cm).195249 cm highvenini murano acid stampBischofberger collection, Switzerland

> Obelisk on a pedestal in transparent glass. Period photograph, February 1960

Drawing for one of the obelisks with a circular base in colour-less transparent glass with a flamelike decoration and base with thin mouldings, exhibited at the 24th Venice Biennale (1948).194820 cm high

>Obelisks with a flame-like decoration and paperweight at the 24th Venice Biennale (1948). Period photograph

Drawing for an obelisk with a quadrangular cross-section and twisted body in colourless transparent glass with a flame-like decoration.c. 195130 cm high

Obelisk with an octagonal base in yellow transparent glass. A similar example in lilac glass was exhibited at the 26th Ven-ice Biennale (1952). The model was also proposed in other di-mensions (no. 4268, h 35 cm).195229 cm highvenini murano ITALY acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

> Obelisks in transparent glass. Period photograph, 1950s

Obelisk with a square base in zaffiro (sapphire) transparent glass. A similar example in light straw-coloured glass was ex-hibited at the 26th Venice Bien-nale (1952). The model was also proposed in other dimensions (no. 4265, h 20 cm).195228 cm highvenini murano ITALY acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale

Large obelisk with an octagonal base in verdognolo (greenish) transparent glass. At the 26th Venice Biennale (1952), where also a large obelisk with a twelve-sided base in ash-grey glass was presented (no. 4270, h 51 cm).195240 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1952, Venice, 26th Biennale1960, Milan, 12th Triennale

>Large obelisk in transparent glass and plate in mezza filigrana glass in Domus, 361, December 1959, p.40

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Cone-shaped obelisk in co-lourless transparent glass with a green core and decoration having intertwined lattimo and black threads. Flared pedestal with an octagonal cross-section in black glass.195226 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for a large obelisk with an octagonal cross-section on a flared prismatic pedestal, to be produced in transparent glass.195241 cm high

Obelisk with a hexagonal cross-section on a prismatic pedestal having a circular base in zaffiro (sapphire) transparent glass. A similar example was ex-hibited at the 12th Milan Trien-nale (1960). The model was also proposed in the variant with a square cross-section (no. 4275, h 50 cm).195237 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale >Obelisks, no. 4261, and bowl in pesante glass. Period photograph, June 1952

Obelisk with an octagonal cross-section on a prismatic pedestal in zaffiro (sapphire) transparent glass. Mouldings of the pedestal in colourless glass.195232 cm highPrivate collection

> Obelisks nos. 4263 and 4262 and pa-perweight no. 4264. Period photograph, June 1952

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Obelisk with a hexagonal cross-section in transparent glass having a core with a twist-ed coral and black band.c. 195929 cm highVenini old labelPrivate collection

‘Obelisk’ in two counterpoised pyramids in transparent glass having a core with a twisted green, lattimo and black band.c. 195934 cm highPrivate collection

Obelisk with a triangular cross-section in transparent glass having a core with a twisted green and black lattimo band.c. 195941.5 cm highPrivate collection, Udine

Obelisk with an octagonal base in colourless transparent glass with a polychrome zanfirico core.c. 195429.5 cm highvenini murano ITALY acid stampPrivate collection

Obelisk with a circular cross-section coming to a flat point and with a swelling body in verdognolo (greenish) and white pesante glass, with layered colours, vertically wheel-engraved over the whole surface. The model was also proposed in a larger size (no. 4277, h 45 cm).195627 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for a ‘zanfirico obelisk’ with a circular base and rounded point in colourless transparent glass having a decoration with intertwined threads. As shown by the factory drawing, a possible decoration provided for the use of ‘2 lattimo zanfirico canes’ and ‘2 zolfo (sulphur-coloured) yellow zanfirico canes’.1948 23 cm high

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition

>Obelisks with a flamelike decora-tion, with a decoration having inter-twined threads, and paperweights. Period photograph, January 1950

Obelisk with a circular base and rounded point in colourless transparent glass with a lattimo decoration having superim-posed flowers. The model was proposed in three different siz-es: h 20 cm, h 30 cm, h 40 cm.c. 1948 43 cm highvenini murano ITALIA acid stampPrivate collection, Germany

Large obelisk in transparent glass with a ‘ballottino multico-lore’ (multi-coloured intertwined threads) decoration. The colours planned were ‘green/ zaffiro (sap-phire)/ ciclamino (cyclamen)/ zolfo (sulphur-coloured) /black’. The model was also proposed in two variants of a lesser height (no. 4295, h 30 cm, n. 4296, h 15 cm).195445 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1954, Milan, 10th Triennale1954, Venice, 27th Biennale

> Obelisks exhibited at the Venice Biennale (1954). Period photograph

Large obelisk with a square base having a rounded point in trans-parent glass with a ‘ballottino multicolore’ (multi-coloured inter-twined threads) decoration. The model was proposed in two dif-ferent heights (h 45 cm and h 51 cm) and in the variants no. 4298 (h 35 cm) and no. 4299 (h 25 cm).195445 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale

>Obelisks exhibited at the 12th Milan Triennale (1960). Period photograph

Drawing for a ‘zanfirico obelisk’ with a square base in colour-less transparent glass having a decoration with intertwined polychrome threads.1948 18.5 cm highPrivate collection

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition

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PAOLO VENINI The series of sandglasses includes models with and without metal mounting and/or filigrana canes. In the first case, they were creat-ed by the American designer Charles Lin Tissot, who designed some sandglass-es for the prestigious New York gallery, Bonnier. In the second, they are probably models that were exhibited at the 11th Milan Triennale of 1957. In both cases the pieces were given a play of bright colours, making a contrast between the opposing globes.

SANDGLASSES 1957

Exhibitions

1957, Milan, XI Triennale di Milano1958 (?), New York, Bonnier

Reference bibliography

Craft Horizons, 21, April 1961, p. 8Domus, 382, September 1961, p. 56

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Drawing for a large hourglass in transparent glass with mounting in sandblasted ottone (‘brass’) glass and Type-N zan-firico canes. The model belongs to a series of hourglasses de-signed by Charles Lin Tissot for the American gallery, Bonnier, some of which were included in the Venini catalogue.c. 195740 cm high

Exhibitions 1958 (?), New York, Bonnier

Hourglass in transparent talpa (mole-grey) and red glass with mounting in wood, metal and zanfirico canes. The model be-longs to a series of hourglasses designed by Charles Lin Tissot for the American gallery, Bonni-er, some of which were included in the Venini catalogue.c. 195722.5 cm highPrivate collection

Exhibitions 1958 (?), New York, Bonnier

Drawing for an hourglass in transparent glass with metal mounting. The model belongs to a series of hourglasses de-signed by Charles Lin Tissot for the American gallery, Bonnier, some of which were included in the Venini catalogue.c. 195721 cm highPrivate collection

Exhibitions 1958 (?), New York, Bonnier

> Hourglasses in co-loured transparent glass. Period photograph, 1950s S

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Hourglass in transparent red and green glass.195719 cm highBischofberger collection, Switzerland

Exhibitions 1957, Milan, 11th Triennale (?)

Hourglass in transparent zaffiro (sapphire) and red glass.195715 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1957, Milan, 11th Triennale (?)

>Hourglasses in transparent coloured glass. Period photograph, early 1960s

Hourglass with cone-shaped bulbs in transparent red and green glass.195715 cm highPrivate collection

Exhibitions 1957, Milan, 11th Triennale (?)

Large hourglass in green and zaffiro (sapphire) transparent glass with metal mounting and zanfirico canes. The model be-longs to a series of hourglasses with metal mountings and zan-firico canes designed by Charles Lin Tissot for the American gallery, Bonnier, some of which were included in the Venini catalogue.c. 195763.8 cm highPrivate collection, Montebelluna

Exhibitions 1958 (?), New York, Bonnier

Large hourglass in ruby and zaf-firo (sapphire) transparent glass with metal mounting and zan-firico canes. The model belongs to a series of hourglasses with metal mountings and zanfirico canes designed by Charles Lin Tissot for the American gallery, Bonnier, some of which were included in the Venini catalogue.c. 195747 cm highPrivate collection

Exhibitions 1958 (?), New York, Bonnier

Hourglass in transparent ametista (amethyst) and zaffiro (sapphire) glass.195719 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Milan, 11th Triennale

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PAOLO VENINI In the latter half of the 1950s, Paolo Venini expanded the production of the glassworks in his search for new solutions for the mak-ing of stained glass in Murano glass. As pointed out in an article in Domus (Au-gust 1957) which illustrated its variety, ‘the idea of stained glass came to Venini during a journey when he was examining the structure of some ancient walls on the island of Delos […] and the pattern of the bark of some palm trees’. Ve-nini’s stained-glass productions were characterised by original patterns, some of which were executed with ‘elements of mosaic glass’, others ‘with single-co-loured or a pennellate glass elements’, with metal mountings. The creation of these artefacts also involved the intervention of different architects, such as Os-car Storonov, the B.B.P.R. architectural partnership of Milan, Franco Albini etc., who used them as valuable decorative elements to be included in both domes-tic and commercial environments. A significant exhibition of these panels was presented on the occasion of the 11th Milan Triennale in 1957, where they were received very positively, this being the case also in the international press.

STAINED GLASS 1957–59

Exhibitions

1957, Milan, XI Triennale di Milano1958, Venice, Biennale Internazionale d’arte1958, Vienna, Venedig zeigt Glas aus Murano 1958 Brussels, World Fair1960, Milan, XII Triennale di Milano, exhibition in memory of Paolo Venini1960 Venice, Biennale Internazionale d’arte

Reference bibliography

Brown 1957, pp. 10–12 Domus, 323, August 1957, cover and pp. 47–50Korsmo 1957, p. 113Pica (ed.) 1957, p. 73, plate XLI bMartinengo 1958, pp. 15–24Venedig zeigt Glas aus Murano 1958, no page number29. Biennale Internazionale d’arte 1958, p. 407Domus, 355, June 1959, pp. 15–23Domus, 361, December 1959, pp. 31, 43, 45 and plateCasa Vogue, 39, April 2013, pp. 106–112

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Stained glass with vertical bands having glass panes with polychrome (ametista – ame-thyst - acquamare and yellow) ‘pennellate (brush strokes)’ and monochrome insertions (violet and yellow). The panel was produced with a decorative motif similar to that designed ‘in cooperation with the architect Oscar Storonov’ and used for the eight stained-glass pieces, of a height of approximately 3 metres, produced for Solidarity House, headquarters of the UAW (United Automobile Work-ers) in Detroit (1956−57). Two of these stained-glass pieces (3 x 1.10 m) were exhibited at the 11th Milan Triennale (1957). A ‘brushstroke’ panel similar to this was exhibited at the Venedig zeigt Glas aus Murano exhibition held in Vienna in 1958.c. 1957280 cm high; 180 cm wideMuseo Venini collection, Murano

Exhibitions 1957, Milan, 11th Triennale1958, Venice, 29th Biennale1958, Vienna, Venedig zeigt Glas aus Murano

>‘Stained glass composed of elements of white glass with brushstrokes of colour, designed in cooperation with the architect Storonov for the conference hall of the Solidarity House building’ in Domus, 333, August 1957, p. 50

>Venini stained-glass pieces at the Mostra delle produzioni d’arte. Sezione del Vetro (Artistic Production Exhibition. Glass Section) of the 11th Milan Trien-nale (1957) in Edilizia Moderna, 62, December 1957, p. 86. In the left-hand corner, one can see the stained glass produced in cooperation with Oscar Storonov

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Stained glass having vertical bands with panes in zaffiro (sapphire) glass. Central inser-tion composed of polychrome glass panes with an ‘eggs on a plate’ motif with different com-binations of colour. The piece was ‘designed in cooperation with the architect Oscar Storon-ov [...] for the doors of a depart-ment store restaurant [...] in De-troit’ (Domus, 333, August 1957, p. 50). The characteristic motif of ‘eggs on a plate’ was also used for four lamps produced in 1958 after a design by Enrico Capuzzo and Paolo Venini for the residence of the art histori-an, Rodolfo Pallucchini. c. 1957

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SStained glass panel with a mixtilinear central background of mosaic glass panes having a tessuto of fine pagliesco (straw-coloured), lattimo and ametista (amethyst) canes. Mixtilinear lateral bands of mosaic glass with a tessuto of fine zaffiro (sapphire), light-blue and lattimo canes. The panel (120 x 210 cm) is documented by an article in Domus devoted to Venini stained glass (Domus, 333, August 1957, p. 48). It is not known what it was intended for.c. 1957200 cm high; 120 cm wideCollection of The Corning Glass Museum; Corning, New York

>‘Stained-glass elements ar-ranged in a mosaic’ in Domus’, 333, August 1957, p. 57

>‘Detail of one of the new stained glass pieces arranged in a glass mosaic’ Venini, cover of Domus, 333, August 1957

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Stained glass in horizontal bands and panes in mosaic glass with a tessuto of fine pagliesco (straw-coloured), yellow and ametista (amethyst) canes documented by an arti-cle in Domus devoted to Venini stained glass (Domus, no. 333, August 1957, p. 48). It is not known what it was intended for.c. 1957

>Portrait of Paolo Venini beside a stained glass piece in mosaic glass in Domus, 361, December 1959, p. 31

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SStained glass with undulating bands and panes in mosaic glass with a tessuto of fine red, pagliesco (straw-coloured), ametista (amethyst) and lattimo canes. This is one of the stained glass windows produced for the headquarters of the Burgo pa-per mill in Turin (Corso G. Mat-teotti, architect Gualtiero Ca-salegno, 1956−58), which was exhibited at the 11th Milan Tri-ennale (1957) and in Vienna at the exhibition Venedig zeigt Glas aus Murano (1958). The same type of pane was presumably used for the great stained glass window with vertical bands of different heights, produced for the Brussels World Fair of 1958. The stained glass was inserted in a glass wall of the conference hall located in the reception building of the modular Italian pavilion.c. 1957307 cm high; 100 cm widePrivate collection

Exhibitions 1957, Milan, 11th Triennale1958, Vienna, Venedig zeigt Glas aus Murano

>Venini exhibition at the Mostra delle produzioni d’arte (Artistic Production Exhibition), Glass Section of the 11th Milan Tri-ennale (1957). On the rear wall can be seen the stained glass for the ‘Burgo paper mill of Turin (m 3 x1)’, while on the right there is the stained glass piece ‘in one panel, m 3 x 1, a multicoloured patchwork piece produced for an apartment furnished by the architects Belgioioso, Peressutti, Rogers of Milan’ in A. Pica (ed.), Undicesima Triennale, Milan 1957, Plate XLI b

>Stained glass and large ‘poliedri’ chandelier in the conference hall of the Italian pavilion at the Brussels World Fair, 1958 in Domus, 361, December 1959

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Stained glass ‘in tessuto-pen-nellato in varying shades of green, red and yellow. Dimen-sions: length 400 cm, height 300 cm. Fixing of the stained glass to the metal frames using inter-nal dowels’ in Catalogo Venini/ Sezione vetrate (Venini Cata-logue/Stained Glass Section), 1980s, Laura de Santillana Ar-chive. This is one of the stained glass windows produced for the headquarters of the Burgo paper mill in Turin (Corso G. Matteotti, architect Gualtiero Casalegno, 1956−58), which was exhibited at the 11th Milan Triennale (1957).c. 1957

Exhibitions 1957, Milan, 11th Triennale

>Venini stained glass overlooking the stairs to the assembly hall and chairman’s rooms at the headquarters of the Burgo paper mill in Turin. Period photograph, c. 1958

>>‘Stained glass for the Burgo paper mill in Turin’ exhibited at the 11th Milan Triennale (1957). Triennale photograph. Archivio Fotografico©La Triennale di Milano. On the left: ‘chandelier composed of fifty-four tubes of coloured glass arranged in a spiral’ after a design by Massimo Vignelli

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‘Curtain with a metal struc-ture and tiles of light-coloured pezzato (patchwork) glass’ in Catalogo Venini/ Sezione vetrate (Venini Catalogue/Stained Glass Section), 1980s, Laura de San-tillana Archive.This is a stained-glass piece produced in the context of the restructuring and furnishing works on Villa Sterzi in Milan, carried out by the architect Franco Albini, 1957−59.450 cm high; 300 cm wide

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SIn the second half of the 1950s the architectural firm BBPR (ar-chitects L. Belgioioso, E. Peres-sutti and E.N. Rogers) designed the layout and furnishing of a prestigious apartment for Aldo Ravelli in the centre of Milan, which was published by Domus in June 1959. To furnish the apartment, in addition to some lamps in opalino glass, the Ve-nini firm produced three panels in mosaic patchwork glass for two sliding doors dividing the studio from the entrance hall. A similar stained-glass piece, with a patchwork motif but in larger dimensions (3 x 1 m), was exhibited at the 11th Milan Tri-ennale (1957).1956−57210 cm high; 99 cm wide

Exhibitions 1957, Milan, 11th Triennale

>Ravelli apartment, double-leaf door with Venini stained-glass panels in patchwork mosaic glass. Courtesy Sharon Goldreich

>B.B.P.R. architectural firm, ‘Study [for] sliding doors with Venini glass’, scale 1:10, No-vember 1956, heliography copy. Courtesy Sharon Goldreich

Crescent-shaped stained glass formed by ‘glass panels in light-blue and yellow shades of colour’ in Catalogo Venini/ Sezi-one vetrate (Venini Catalogue/Stained Glass Section), 1980s, Laura de Santillana Archive.This is one of the four stained-glass pieces (maximum dimen-sions 12 x 3 m) made for the Chapel of the Convent of the Suore Missionarie dello Spirito Santo (Missionary Sisters of the Holy Spirit) in Rome (via della Camilluccia, architect Silvio Galizio, 1957−58).

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TYRA LUNDGREN GIO PONTIPIERO FORNASETTIEUGÈNE BERMANKEN SCOTTRICCARDO LICATACHARLES LIN TISSOTMASSIMO VIGNELLITOBIA SCARPAGRETE KORSMO

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TYRA LUNDGREN Tyra Lundgren (1897–1979), the Swedish ceramic artist and freelance journalist, from the late 1920s came repeatedly to Italy, where she frequented the artistic circles in Rome and Milan. She exhibited some of her ceramics at the Triennale of Milan in 1933 and 1936 and in 1934 took part in the Venice Biennale with glass pieces designed for the Finnish firm, Riihimäki. At the following Venice exhibition (1936), she became acquainted with Paolo Venini, who invited her to try her talents with Murano glass. The repeated tests in the furnace (1936–38) and the camaraderie she established with the master glassmakers — particularly Boboli (Arturo Biasutto) and Edgardo Valmarana — led to the results that were seen at the 21st Venice Biennale (1938) where her ‘animals and leaves’ were exhibited. These were winged creatures in iridised transparent glass, fish in sommerso glass and leaves in glass with a lined pattern. They represented a small sample of the much wider repertoire of artefacts designed by Lundgren, who pro-posed many variants of these subjects amounting to a total of some seventy piec-es. In tackling this material, glass, which was new for her, the artist initially used models similar to those already executed in ceramics, especially those for birds and fish, employing techniques then in use in the furnace, such as corroso, iridised or sommerso glass. With the help of the master glassmakers she found new solu-tions, particularly for the execution of the leaves, of which she proposed versions in filigrana, in tessuto glass and in tartaruga glass. Certain snakes in glass can be dated to 1939 but these, because of the War, were exhibited only in 1948 at the first post-War Venice Biennale, where vases with a decoro fenicio were also exhib-ited. Some of these, like other pieces with a thread-like decoration, were produced for Nordiska Kompaniet, the Stockholm department store.

BIRDS AND FISH 1936–38 LEAVES 1937–38 SNAKES 1939; 1948VASES 1948–50Exhibitions

Birds1938, Stockholm, N. K., Venini exhibition1938, Venice, 21st Biennale internazionale d’arte1939, San Francisco, Golden Gate International Exposition1939, Stockholm, Svenskt Tenn, Venini exhibition1940, Stockholm, N. K. and Svenskt Tenn, Venini exhibition1951, Stockholm, N. K., Venini exhibition1952, Venice, 26th Biennale internazionale d’arte1953, Stockholm, Nordiska Kompaniet, Venini exhibition1953, Copenhagen, Illums Bolighus, Venini’s glaskünst

Fish1938, Venice, 21st Biennale internazionale d’arte1939, San Francisco, Golden Gate International Exposition1941, Leipzig, Fair1950, Stockholm, N. K., Venini exhibition1951, New York, USA, Italy in Macy’s

Leaves1938, Venice, 21st Biennale internazionale d’arte

1939, Helsinki, Artek, Venini exhibition1939, San Francisco, Golden Gate International Exposition1939, Stockholm, Svenskt Tenn, Venini exhibition1940, Stockholm, N. K. and Svenskt Tenn, Venini exhibition1950-51, Stockholm, N. K., Venini exhibition1952, New York, Georg Jensen, Art in Contemporary Glass1953, Stockholm, Nordiska Kompaniet, Venini exhibition1957 Baden-Baden, Venini. Gläser aus Murano1960, Milan, 12th Triennale di Milano, exhibition in memory of P. Venini

Vases and serpents1948, Venice, 24th Biennale Internazionale d’arte

Reference bibliography

BirdsHald 1938, p. 183 Domus, 129, September 1938, p. 44 Domus, 132, December 1938, p. 33 Le Tre Venezie, June 1938, p. 246 L’industria del vetro in Italia [1939–40], pp. 76

Domus, 145, January 1940, p. 32Stav[enow] 1940, pp. 32–33lo Stile, 5–6, May-June 1941, p. 60Die Kunst und das Schöne Heim, 8, May 1952, pp. 310–315

FishDomus, 129, September 1938, pp. 44–45Le Tre Venezie, June 1938, pp. 246–247

LeavesLe Tre Venezie, June 1938, p. 246 Domus, 129, September 1938, p. 44 (pp. 44–45)Domus, 144, December 1939, p. 58Form, 1940, p. 31 Domus, 145, January 1940, pp. 33– 35Stav[enow] 1940, p. 33 lo Stile, 5-6, May-June 1941, pp. 60–61Gasparetto 1958, no. 161

Vases and serpentsDomus, 229, IV, 1948, p. 41 Decorative art 1951–52, pp. 55, 75 Stennett-Willson 1958, p. 50

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Pigeon in adriatico blue trans-parent glass with an iridised finish. Wings in colourless transparent glass. Two exam-ples of this model were ex-hibited at the Venice Biennale in 1938 and one, in pagliesco (straw-coloured) glass, in 1952.193716 cm high; 26 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Exhibitions 1938, Venice, 21st Biennale1952, Venice, 26th Biennale

> Small bird, no. 2627, and pigeons, nos. 2625 and 2628 in L’indu-stria del vetro in Italia, Rome [1940], p. 76

Pigeon, with its head folded back, in adriatico blue, heavily iridised glass. Wings in colour-less transparent glass. A similar example in layered ciclamino (cyclamen) glass was exhibited at the Venice Biennale in 1952.193813 cm high; 25.5 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Exhibitions 1952, Venice, 26th Biennale

> Birds after a design by Tyra Lundgren and vases after a design by Carlo Scarpa at the 26th Venice Bi-ennale (1952). Period photograph

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Pigeon with a crest in very thick pale-blue glass, with a heavily iridised finish.193719 cm high; 31.5 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

> Pigeons in very thick, heavily iridised, transparent glass. Period photograph, c. 1938. The image appeared in Domus, 132, December 1938, p.33

Drawing for a sitting pigeon to be produced in very thick glass. On the factory drawing there are some notes in the hand of Tyra Lundgren.193816 cm high; 18 cm wide

Pigeon in very thick pale-blue glass, iridised finish, portrayed pecking at the ground.193828 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

> Pigeons, nos. 2625, 2663 and 2666, in iridised glass. Period photograph, early 1950s

Drawing for a pigeon with its head cocked upwards to be produced in very thick glass.193720 cm high; 23 cm wide

> Pigeon, no. 2630, after a design by Tyra Lundgren, and glove and fan after a design by Fulvio Bianconi. Period photograph, early 1950s

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Pigeon in slightly straw-co-loured bollicine glass (with tiny bubbles), its head and neck bent backwards. Wings in green bollicine glass.193720 cm high; 18 cm widePrivate collection

> Pigeons in bollicine glass. Period photograph, c. 1938. The image appeared in Domus, 145, January 1940, p. 32

Bird in very thick ciclamino (cyclamen) glass, with an iri-dised finish, wings in colourless transparent glass. The bird is described in the Quaderno Nero (Black Notebook) as a ‘seagull’.1936-3716 cm high; 19 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Paris

Pigeon, with head and neck curved backwards, in very thick, corroso (corroded) colourless glass, with an iridised finish.193714 cm high; 23 cm widePrivate collection, Paris

> Birds, no. 2601, and table cen-trepiece, no. 4118 after a design by Tyra Lundgren. Period photograph, c. 1938. The image appeared in Form, 8, 1938, p. 185

Small bird in very thick trans-parent zaffiro (sapphire) glass, with its head turned backwards.193710 cm highvenini murano ITALIA acid stampPrivate collection, Paris

> Small bird, no. 2626, lamp in diamante glass and Venini frame. Period photograph, late 1930s

Small bird in very thick, trans-parent ruby glass. Wings in transparent colourless glass. Two similar examples were ex-hibited at the Venice Biennale in 1938.193710 cm highvenini murano ITALIA acid stampPrivate collection, Paris

Exhibitions 1938, Venice, 21st Biennale1941, Leipzig, Fair

> Small birds and pigeons at the 21st Venice Biennale (1938). Period photograph, detail

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350 351

2635

2668

2669

Small bird in very thick slightly straw-coloured glass, with an iridised finish, its head turned backwards.193714/20/14 cm widevenini murano acid stampPrivate collection, Germany

Exhibitions 1941, Leipzig, Fair

> Birds, nos. 2669 and 2668, and leaf in filigree glass. Period photograph, c. 1940. The image appeared in Lo stile, 5-6, 1941, p. 60

Small bird in very thick verdo-gnolo (greenish) glass with an iridised finish, its head turned upwards. Plumage in colourless transparent glass. On the facto-ry drawing there are some notes in the hand of Tyra Lundgren.193817 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Small bird in tessuto glass with fine green and lattimo canes having an iridised finish. Plum-age in colourless transparent glass. On the factory drawing there are some notes in the hand of Tyra Lundgren. Drawing for a bird to be produced in very thick glass.193811.5 cm high; 21 cm widevenini murano acid stampCollection Patrick Despature, Switzerland

TYR

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352 353

2671

2670

2607

2664

2606

2665

Drawing for ‘Lodola’ (skylark), with head turned to the side and tail held high, to be pro-duced in very thick glass.193811 cm high; 21 cm wide

Drawing for ‘Lodola’ (skylark), with head turned to the side and straight tail, to be produced in very thick glass.193811 cm high; 25 cm wide

Drawing for a small bird to be produced in very thick glass.193710 cm high; 17 cm wide

Pigeon in very thick pagliesco (straw-coloured) glass, wings in colourless glass, with an iridised finish. On the factory drawing there are some notes in the hand of Tyra Lundgren.193819 cm high; 30 cm wideVenini old labelPrivate collection, Germany

Drawing for a bird to be pro-duced in very thick glass.19377,5 cm high; 20 cm widePrivate collection, Paris

> ‘Two pigeons’ in Domus, 145, January 1940, p. 32

Pigeon in ametista (amethyst) glass, with wings in colourless transparent glass having a heavily iridised finish. On the factory drawing there are some notes in the hand of Tyra Lund-gren.193810 cm high; 32 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

TYR

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BIR

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354 355

2678 bis

2673

2676

2678

2677

2672

Drawing for ‘Rondine’ (Swallow) with its tail held high, to be pro-duced in very thick glass.193826 cm wide

Drawing for ‘Anitra’ (‘Duck’) with its tail held high to be produced in very thick glass. On the facto-ry drawing there are some notes in the hand of Tyra Lundgren.193818 cm high; 34 cm wide

‘Tordo’ (thrush) in zaffiro (sap-phire) glass, with wings in colourless glass, with a heavily iridised finish. Wings in colour-less transparent glass.193817 cm high; 31.5 cm widevenini murano ITALIA acid stampMuseo Venini collection, Murano

Drawing for ‘Rondine’ (Swallow) with its tail held low, to be pro-duced in very thick glass.19389 cm high; 28 cm wide

Drawing for a bird with a crest (woodpecker?) to be produced in very thick glass. On the facto-ry drawing there are some notes in the hand of Tyra Lundgren.193814 cm high; 26 cm wide

TYR

A LU

ND

GR

EN Drawing for ‘Anitra’ (Duck) to be

produced in very thick glass. As can be seen in a period photo-graph, the model was also pro-duced in tessuto glass.193821 cm high; 30 cm wide

> ‘A duck and a small bird’ in Do-mus, 145, January 1940, p. 32

BIR

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356 357

2674

2675a

2675bis

‘Anitra selvaggia’ (‘Wild Duck’) with a long neck pointing up-wards in tessuto glass with fine green and lattimo canes. Fin-ishings and wings in colourless transparent glass. A similar example in sangue di bue (dark red) glass was exhibited at the Venice Biennale in 1952.193816 cm high; 48 cm widevenini murano acid stampPrivate collection, Paris

> ‘Two wild ducks’ in Domus, 145, January 1940, p. 32

‘Anitra selvaggia’ (‘Wild Duck’) with a long neck in pagliesco (straw-coloured) glass with fin-ishings and wings in colourless transparent glass, heavily iri-dised. As indicated by the notes in the hand of Tyra Lundgren on the drawing, the model was planned in three different posi-tions (nos. 2674-2675a-2675b). A similar example to this in sangue di bue (dark red) glass was exhibited at the Venice Biennale in 1952.193855 cm widevenini murano ITALIA acid stampPrivate collection, Germany

Exhibitions 1952, Venice, 26th Biennale

‘Anitra selvaggia’ (‘Wild Duck’) with a long neck pointing down-wards in tessuto glass with fine ametista (amethyst) and lattimo canes with finishings and wings in (colourless) white trans-parent glass. Surface heavily iridised.193845 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

> Ducks in glass on a shelf at the Venini firm. Period photograph, 1943, Luce Historical ArchiveTY

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358 359

2603

2604

2631

Fish in colourless transparent glass decorated on the body with polychrome threads and with an iridised finish. The piece was produced after a design by Tyra Lundgren in 1936-37 and a technique devised by Carlo Scarpa in 1942.1936-37; 194219 cm high; 32 cm widevenini murano ITALIA acid stampPrivate collection, Montebelluna

Fish in layered orange bruciato (burnt) glass with fins in colour-less transparent glass. Surface with a corrosione (cor-rosion) finishing. Two examples of this model were exhibited at the Venice Biennale in 1938.1936-3716 cm high; 30 cm widePrivate collection, Paris

Exhibitions 1938, Venice, 21st Biennale

Drawing for a fish, with an arched body and long dorsal fin, to be produced in very thick glass.193712 cm high; 23 cm wide

> Animals in glass after a design by Tyra Lundgren. Period photograph, 1943, Luce Historical ArchiveTY

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360 361

2636

2633

2634

2632

Fish in very thick pagliesco (straw-coloured) glass, tail pointing upwards.193726 cm high; 21 cm widePrivate collection, Paris

> Venini glass pieces at the Leipzig Fair in 1941. Period photograph

Fish with a rounded snout, arched body and separated fins in very thick colourless trans-parent glass, with a heavily iridised finish.193734 cm widePrivate collection, Germany

Drawing for a large fish, with an arched body and long dorsal fin, to be produced in very thick glass.193715 cm high; 32 cm wide

Fish with an arched body in very thick verdognolo (greenish) glass, with a heavily iridised finish.

193723 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

> Fish, no. 2632. Period photograph, c. 1938

> Fish, no. 2632, and table centrepiece, no. 3691, after a design by Tyra Lundgren. Period photograph, c. 1938.

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362 363

2681

2679 bis

2680

2638

2639

Drawing for a fish, with open mouth and curved tail fin to be produced in very thick glass.193813 cm high; 23 cm wide

Large fish, with open mouth, in layered bollicine (bub-ble-ground) green glass with the inclusion of gold leaf. Fin-ishings in colourless transpar-ent glass. The model is charac-terised by the curved tail fin.193812 cm high; 34 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Paris

Fish, with open mouth, in black (dark ametista - amethyst) decorated with irregular mac-chie (patches) of lattimo glass. Finishings in colourless trans-parent glass. Surface heavily iridised. The model is character-ised by the curved tail fin. As in-dicated by the notes in the hand of Tyra Lundgren on the margin of the factory drawing, the fish could be produced in two dif-ferent versions ‘black with fili buttati [Phoenician decoration] and [with] little white balls’.193813 cm high; 28 cm widePrivate collection

Fish with an elongated snout, arched body and fins in very thick colourless transparent glass, with a heavily iridised finish.193726 cm high; 21 cm widePrivate collection, Paris

Large fish in layered corniola (carnelian-coloured) glass dec-orated with applied bosses. Fins in colourless transparent glass. Surface with a corrosione (corrosion) finishing.193716.5 cm high; 29.5 cm wideThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

> ‘Fish in yellowish corroded glass’ in Domus, 129, September 1938, p. 44

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364 365

2682

2683

2679

Drawing for a fish, with open mouth, to be produced in very thick glass. 193812.5 cm high; 30 cm wide

Large fish, with open mouth and little teeth, in colourless transparent glass decorated with a chequered weft of am-etista (amethyst) threads. Fins and finishings in colourless transparent glass. As indicated by the notes in her own hand on the margin of the factory draw-ing, Tyra Lundgren had studied two versions of this model.193817 cm high; 32 cm widePrivate collection

Large fish, with open mouth, in black (ametista scuro – dark amethyst) glass with a Phzoeni-cian decoration in lattimo glass. Finishings in colourless trans-parent glass. Surface heavily iridised. As indicated by the notes in her own hand on the margin of the factory drawing, Tyra Lundgren recommended that one should ‘take care that the [shape of the fish] did not become too flat or flattened’.193837 cm widevenini murano ITALIA acid stampPrivate collection, Germany

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition1951, New York, USA, Italy in Macy’s

>Venini employee holding fish, no. 2679. Period photograph, 1943, Luce Historical ArchiveTY

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366 367

2641

2645

2643

Large leaf in very thick paglie-rino (slightly straw-coloured) glass with zaffiro (sapphire) bands included in the wall of the piece. Heavily iridised sur-face. The model was proposed in variants of different sizes (A, B, C) and the design was also used for ice-cream services and bonbonnières.193711.5 cm high; 31 cm widevenini murano MADE IN ITALY acid stampBischofberger collection, Switzerland

Large leaf in very thick red glass finished with deep bee-nest-shaped impressions. Corrugat-ed rim. The piece was produced after a design by Tyra Lundgren in 1937 and a technique used by Carlo Scarpa in 1940.1937; 19409 cm high; 26 cm widevenini murano MADE IN ITALY acid stampPrivate collection

Leaf in very thick rose-coloured glass finished with vertical grinding. The piece was pro-duced after a design by Tyra Lundgren in 1937 and a tech-nique used by Carlo Scarpa in 1940.1937; 194010 cm high; 19 cm widevenini murano acid stampPrivate collection, Germany

> Venini bowls and leaves. Period photograph, June 1949

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LEAV

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368 369

2644

2646

26972640

2642

2696

Large leaf in very thick colour-less transparent glass with dark ametista (amethyst) bands included in the wall of the piece. Heavily iridised surface. Cor-rugated rim. A similar example was exhibited at the 21st Venice Biennale in 1938 and in the same year was published in the pages of Domus, 129, Septem-ber, p. 44. The model was also proposed in a reduced version in no. 1298 (l 12.5 cm).193710 cm high; 31 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Exhibitions 1938, Venice, 21st Biennale

> Venini glass pieces at the 21st Biennale of Venice (1938). Period photograph ASAC, detail

Large leaf in heavily iridised am-etista (amethyst) mezza filigrana glass with a corrugated rim.193732 cm widevenini murano MADE IN ITALY acid stampPrivate collection

Drawing for a large leaf with a spear-like profile to be pro-duced in blown glass. Small leaves applied at the extremities.193814 cm high; 38 cm wide

Leaf in very thick paglierino (slightly straw-coloured) glass decorated with a band of zaffiro (sapphire) glass included in the wall of the piece. Heavily iri-dised surface. The model was proposed in two variants of different sizes, A and B.19375.5 cm high; 23 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Large leaf in tessuto glass with fine ametista (amethyst), talpa (mole-grey) and lattimo canes.193710 cm high; 34 cm widevenini murano ITALIA acid stampChiara and Francesco Carraro collection, Venice

Large leaf in ametista (ame-thyst) glass decorated with irregular macchie (patches) of lattimo glass included in the internal surface of the piece. Small applied leaves in ametista (amethyst) glass and lattimo glass. 193811 cm high; 33 cm widevenini murano ITALIA acid stampPrivate collection, Germany

Exhibitions 1950, Stockholm, Nordiska Kompaniet, Venini exhibition

TYR

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370 371

2687

2691

2689

2690

Large leaf, with a corrugated rim turned inwards, in tessuto glass with fine zaffiro (sapphire) and acquamare canes. Heavily iridised surface. Tiny applied leaves in white transparent glass.193814 cm high; 33 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Leaf, with a corrugated rim partially folded inwards, in red glass finished with close ver-tical incisions. The piece was produced after a design by Tyra Lundgren in 1937 and a tech-nique devised by Carlo Scarpa in 1940. 1937; 19409.3 cm high; 25.5 cm widevenini murano MADE IN ITALY acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Drawing for a large leaf, with a corrugated rim partially folded inwards, to be produced in blown glass.193813 cm high; 33 cm wide

Large leaf, with a corrugated rim partially folded inwards, in tessuto glass with fine ametista (amethyst), talpa (mole-grey) and lattimo canes. Heavily iridised surface. Tiny applied leaves in white transparent glass.193817 cm high; 32 cm widePrivate collection

> ‘Leaf in filigree glass with violet and white lines’, in Domus, 145, January 1940, p. 33

> Leaf, no. 2687, small bird, no. 2626, and pigeon, no. 2625. Period photograph, February 1943

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372 373

2698

2686

2685

>Leave and ‘Corroded’ glass pieces. Period photograph, February 1943

> Leaves, no. 2686, in lattimo mezza filigrana glass. Period photograph, 1940s

Drawing for a large leaf, with rim turned outwards, to be produced in blown glass. Small applied leaf.193815 cm high; 38 cm wide

Large leaf, with rim turned in-wards, in lattimo mezza filigrana glass. Tiny applied leaves in white transparent glass. The model was also produced in corroso (corroded) glass.193815 cm high; 30 cm wideFondazione Giorgio Cini collection, Venice

Drawing for a leaf, with rim turned inwards, in lattimo mezza filigrana glass, exhibited at the 26th Venice Biennale (1952).193814 cm high; 29 cm wide

Exhibitions 1952, Venice, 26th Biennale

> Mezza filigrana glass pieces at the 26th Venice Biennale (1952). Period photograph

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374 375

2692

2699

2695

Large leaf in tortoise glass with fine ametista (amethyst) and lattimo canes. Tiny applied leave in transparent white glass. A similar example, in other co-lours, was exhibited at the 26th Venice Biennale (1952).19386 cm high; 34 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Exhibitions 1952, Venice, 26th Biennale

> ‘Large leaf in “filigree tessuto” glass’ in Domus, 145, January 1940, p. 34

Drawing for a large leaf to be produced in blown glass. Two tiny applied leaves.193834 cm wide

> Large leaf in mez-za filigrana glass. Period photograph, 1943, Luce Historical Archive

Large leaf in tessuto glass with fine red, ametista (amethyst) lattimo and pagliesco (straw-co-loured) canes. Tiny applied leave in transparent white glass.19385.7 cm high; 40.6 cm widevenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

TYR

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EN

LEAV

ES

376 377

2693

2647 2801

2896

2694a

Leaf in red mezza filigrana glass with corrugated edge.193820 cm widePrivate collection

Leaf in dark ametista (ame-thyst) mezza filigrana glass. The model was proposed in variants of different sizes (A, B, C) and the design was also used to give an individual character to ice-cream services and bonbon-nières. A reduced version was included in the catalogue under no. 2700 (l 14 cm).19375 cm high; 26 cm widevenini murano MADE IN ITALY acid stampPrivate collection, Germany

Exhibitions 1939, Helsinki, Artek, Venini exhibition

Leaf in lattimo mezza filigrana glass. Tiny applied leaves in transparent white glass.193829 cm widevenini murano ITALIA acid stampPrivate collection

> ‘Three leaves with light-blue veins on crystal’ in Domus, 145, January 1940, p. 33

Leaf in tessuto glass with fine ametista (amethyst) and green canes. A similar model with a larger diameter to be produced in ‘black/bruno’ (brown) tessuto glass was included in the cat-alogue under no. 2895, while a leaf of the same dimensions but of reduced height, to be produced in ‘lattimo/ bruno’ tessuto, was included in the catalogue under no. 2894.19389 cm high; 32 cm widevenini murano ITALIA acid stampPrivate collection, Udine

Leaf with a corrugated rim in tortoise glass with fine ametista (amethyst), talpa (mole-grey) and lattimo canes. Applied tiny leaf in white transparent glass. The same model in mezza filigra-na glass, in the variant with two tiny leaves, was exhibited at the 26th Venice Biennale in 1952 and in 1960 at the 12th Milan Triennale.19385.1 cm high; 27.4 cm widevenini murano MADE IN ITALY acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1952, Venice, 26th Biennale1960, Milan, 12th Triennale

> ‘Leaf in tortoise glass’ in Domus, 145, January 1940, p. 35

TYR

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378 379

> Calla vases and serpents exhibited at the 24th Venice Biennale (1948). Period photograph

TYR

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380 381

2953

2954

2955

2950

2951

2952

Drawing for one of the serpents in pesante glass exhibited in 1948 at the 24th Venice Bien-nale. The snake was planned to be produced in ‘ash grey’ and ‘paglierino (light straw colour)’ glass, with an iridised finish and with ‘lattimo occhi’.1939; 194818 cm high; 22.5 cm wide

Coiled serpent in heavily iri-dised pesante ‘ash grey’ and ‘’paglierino (light straw colour)’ glass. 1939; 19489 cm high; 22 cm wideGotland Museum collection

Drawing for a coiled serpent to be produced in heavily iridised pesante glass.1939; 194811 cm wide

Drawing for one of the serpents in pesante glass exhibited in 1948 at the 24th Venice Bien-nale (1948). The coiled snake was intended to be produced in ‘white iris’ glass with ‘green and red coils [bands]’ and ‘black’ occhi.1939; 194815 cm wide

Exhibitions 1948, Venice, 24th Biennale

Sinuous serpent in pesante paglierino (light straw colour) glass with an included band of green glass. Black occhi. Heavily iridised surface. A similar ex-ample was exhibited at the 24th Venice Biennale (1948).1939; 194823 cm wideGotland Museum collection

Exhibitions 1948, Venice, 24th Biennale

Drawing for one of the serpents in pesante glass exhibited in 1948 at the 24th Venice Bien-nale. The snake was planned in glass with an ‘ash grey outside’ and ‘paglierino (light straw co-lour) inside’, an iridised finish and ‘green occhi’.1939; 194817 cm high; 22.5 cm wide

Exhibitions 1948, Venice, 24th Biennale

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382 383

3863

3864

f.c.

f.c.

3860

3861

3862

Vase of an oval design and with a mouth having a rhomboid cross-section, in colourless transparent glass with a red and yellow Phoenician deco-ration. The model, proposed also with a lattimo Phoenician decoration, was produced for the Swedish department store, Nordiska Kompaniet.194831 cm highvenini murano MADE IN ITALY acid stampPrivate collection, Germany

> Calla vases, no. 3863, in glass with a lattimo Phoenician decoration and in glass with a red Phoenician decoration in Decorative Art, 1951−52, p. 75

Vase in colourless transparent glass with a lattimo Phoenician decoration. The model is char-acterised by the diagonal profile of the mouth.194826 cm highvenini murano ITALIA acid stampPrivate collection

Shell in very thick colourless transparent glass decorat-ed with ametista (amethyst) threads with a heavily iridised finish.1948−508.7 cm high; 22.2 cm wideNationalmuseum collection, Stockholm

Calla vase with a quadrangular mouth in colourless transparent glass with a lattimo Phoenician decoration. As the factory draw-ing indicates, a variant with a Phoenician decoration in ‘red’, ‘green’ and ‘paglierino (light straw colour)’ with iridisation was planned and was exhibited at the 24th Venice Biennale (1948).194827 cm highvenini murano ITALIA acid stampPrivate collection, Germany

Exhibitions 1948, Venice, 24th Biennale

Calla vase in colourless trans-parent glass with a red and ac-quamare Phoenician decoration, with an iridised finish.194830 cm highvenini murano ITALIA acid stampPrivate collection, Germany

Exhibitions 1948, Venice, 24th Biennale1949, Stockholm, Nordiska Kompaniet, Venini exhibition

> Calla vase, no. 3861, with a latti-mo Phoenician decoration. The image appeared in Decora-tive Art, 1951-52, p. 55

Vase having a mouth with a four-lobed cross-section in transparent talpa (mole-grey) glass with a lattimo Phoenician decoration. A similar example, in other colours, was exhibited at the 24th Venice Biennale (1948).194830 cm highPrivate collection

Exhibitions 1948, Venice, 24th Biennale

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Vase in glass with white and ciclamino (cyclamen) and white and lattimo canes with a fringed edge. The two models were produced for the Swedish department store, Nordiska Kompaniet.1948−5023 cm highGotland Museum collection

> Opalescent shell and vase with red and white canes in Decorative Art, 1951−52, p. 74

384 385

GIO PONTI Gio Ponti (1891–1979) and Paolo Venini became acquainted in the mid-1920s and already in 1927 the closeness of their interests led them to work together when, with other Lombard architects and entrepreneurs, they founded Il Labirinto, an association for the production of modern decorative fur-niture and artistic pieces. Gio Ponti’s high opinion of Venini found concrete ex-pression also in the many essays he continued to publish in Domus from the year of its foundation (1928). But it was only in the post-War period that this friendship led to the birth of new series of glass pieces after Ponti’s own designs.In 1946, with a view to the first Milan Triennale after the War (1947), he designed table services for APEM (Artigianato Produzione Esportazione Milano) [Craft-work Production Export Milan], which were produced by Venini and exhibited at the Milan event. These were objects in essential forms which, following the orientation of the exhibition, were intended for mass production while remain-ing faithful to the quality of the Murano tradition. A small series of bottles and pieces characterised by ‘crinoline’ were also made for APEM. Borrowed from his ceramic works and produced in coloured transparent glass, they were intended for an élite public. Probably on the occasion of the travelling exhibition Italy at Work held in the United States between 1950 and 1953, Gio Ponti also designed a group of nine bottles — one never executed — which were extremely successful. Among them, two in particular were characterised by their stylised anthropo-morphic form (Vecchia Dama and Campigliesca) and four for their clear homage to the bottles of Morandi (Morandiane I, II, III and V). The suspension lamp in ma-ny-coloured transparent glass had a great chromatic impact and reinterpreted the traditional form of the chandelier with arms.

TABLE SERVICE AND APEM 1946–48BOTTLES 1949–50LIGHTING 1946–48

Exhibitions

Table Service and APEM1947, Milan, 8th Triennale di Milano1950–53, USA, Italy at Work1952, 26th Venice Biennale internazionale d’arte1953, Copenhagen, Illums Bolighus, Venini’s glaskünst 1953, Stockholm, Nordiska Kompaniet, Venini exhibition1953, London, Liberty, Exhibition of Paolo Venini1956, Göteborg (Sweden), Muranos glas1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Linz, Venini-Murano und Orrefors-Schweden1957, Vienna, Venini Murano Glas1960, Stockholm, Nordiska Kompaniet, Paolo Venini com-memorative exhibition

Bottles1950–53, USA, Italy at Work1955, New York, Jensen, The Designers’ Exhibition of Glass

1956–58, USA and Canada, European Glass Design1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Frankfurt, Gläser von Venini-Murano und Orre-fors-Schweden1957, Vienna, Venini Murano Glas1960, Stockholm, Nordiska Kompaniet, Paolo Venini com-memorative exhibition

Reference bibliography

Table Service and APEMDomus, 221, July, 1947, p. 25Domus, 227, II, 1948, p. 71Domus, 229, IV, 1948, p. 56Domus, 230, V, 1948, p. 29Domus 231, VI, 1948, p. 34 Italian glass, Rome [1954]Domus, 361, December 1959, p. 41

BottlesDomus, 252–253, November–December 1950, pp. 58–59O.W., 1951, pp. 6–7Craft Horizons, October 1955, p. 6Venini Murano, Orrefors Schweden: Glas 1957, no. 39Stennett-Willson 1958, p. 44Domus, 361, December 1959, p. 41Warnecke 1965, p. 74

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392 393

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3704

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Table service in glass with canes in six colours (red, verdognolo [greenish], talpa [mole-grey], zaffiro [sapphire], ametista [amethyst], pagliesco [straw-coloured]). An example of the carafe (915 c), two beer glasses and a flute of this series were exhibited at the 26th Venice Biennale (1952).1946−476 cm; 15 cm; 6.5 cm and 24 cm highVenini old labelPrivate collection

Exhibitions 1952, Venice, 26th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Drawing for a cylindrical tum-bler in glass with canes. The model is part of a series of tum-blers designed for APEM and was proposed in two other sizes (no. 4244, h 13 cm; no. 4245, h 12 cm) and with a monochrome glass tessuto.1946−4714 cm high

Exhibitions 1950−53, USA, Italy at Work

> Tumblers and bottles with canes at the exhibition Italy at Work in Chicago, 1951, detail, courtesy Art Institute of Chicago

Cylindrical tumbler in glass with canes designed for APEM. The tumblers were also proposed in a monochrome version and both versions were exhibited at the 8th Milan Triennale (1947).1946−479 cm high

Exhibitions 1947, Milan, 8th Triennale

> ‘Jug and tumblers in coloured striped Murano glass, after a de-sign by Gio Ponti’ in Domus, 227, 1948, p. 71

Pitcher and bottle with stopper of the table service, no. 970, for APEM,in the variant in trans-parent glass decorated with horizontal polychrome bands.1946−4723 cm; 28 cm highPrivate collection, Milan

> G. Ponti, study for bottles and tumblers in glass with poly-chrome bands, pencil and tempera on paper, 1946. Private collection

Bottle of the table service, no. 972, in glass with canes in six colours (red, verdognolo [green-ish], talpa [mole-grey], zaffiro [sapphire], ametista [amethyst], pagliesco [straw-coloured]). The series was also proposed in glass with broad canes.1946−4726 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Table services, nos. 915 and 972, in glass with canes in six colours. Period photograph, 1950s

Vase in glass with canes in six colours (red, verdognolo [green-ish], talpa [mole-grey], zaffiro [sapphire], ametista [amethyst], pagliesco [straw-coloured]). The model was also proposed in smaller dimensions (no. 3703, h 16 cm).1946−4723.1 cm high; 16.7 cm øvenini murano ITALIA acid stampBischofberger collection, Switzerland

Drawing for a bulb-shaped vase in glass with canes in six colours (red, verdognolo [green-ish], talpa [mole-grey], zaffiro [sapphire], ametista [amethyst], pagliesco [straw-coloured]).1946−4733 cm high

Tumblers with a narrowing at the centre in glass with mezza filigrana and in monochrome glass designed for APEM. The tumblers were proposed in different sizes. 1946−4711 cm high

Exhibitions 1947, Milan, 8th Triennale

>G. Ponti, Study for a ‘beggar service’ and for an ‘APEM service’, pencil and tempera on paper, Marco Arosio collection, Milan

>Tumblers for APEM in glass with monochrome and mezza filigrana canes. Period photograph, September 1950

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3873

3873a

3873b

3878

3878a

Bottle with stopper in light-blue transparent glass with ‘crino-line’ wound in a spiral in zaffiro (sapphire) glass.The model is one of the bottles designed by Gio Ponti and pro-duced by Venini for APEM.1946−4832 cm highMuseo Venini collection, Murano

> Bottle, no. 3873, and tumblers in Domus, 361, December 1959, no page number

> ‘Bottles in crinoline’, Venini glass pieces after a design by Gio Ponti for APEM in Domus, 231, 1948, p. 34

Bottle with stopper in colourless transparent glass with ‘crino-line’ in zaffiro (sapphire) glass.The model is one of the bottles designed by Gio Ponti and pro-duced by Venini for APEM.1946−4832 cm highMuseo Venini collection, Murano

Exhibitions 1950−53, USA, Italy at Work

>G. Ponti, ‘Studies for liqueur bottles’, pencil and tempera on paper, 1946. Private collection

> ‘Bottles in crinoline’ in Domus, 252−253, 1950, p. 58

Pitcher in red transparent glass with ‘crinoline’ in colourless transparent glass. The model is one of the bottles designed by Gio Ponti and produced by Veni-ni for APEM.1946−4832 cm highMuseo Venini collection, Murano

>G. Ponti, ‘Studies for liqueur bottles’, pencil and tempera on paper, 1946. Private collection

> ‘Pitcher and bottle with crinoline’ in Domus, 230, 1948, p. 29

‘Woman in crinoline’, bottle in the shape of a woman in zaffiro (sap-phire) and dark blue glass joined using the incalmo technique, with finishings in white opalino glass. Stopper in red glass with finish-ings in white opalino. The model represents the variant, with a flounce at the waist and two rib-bons on the dress, of one of the bottles in the shape of a woman designed by Gio Ponti, and pro-duced by Venini for APEM. 1946−4833 cm highMuseo Venini collection, Murano

> Bottle, no. 3878, and tumbler glass. Period photograph, 1950s

‘Woman in crinoline’, bottle in the shape of a woman in co-loured transparent glass docu-mented by a period photograph. The model represents the vari-ant, with three flounces on the dress, of one of the bottles in the shape of a woman designed by Gio Ponti and produced by Venini for APEM.1946−48

Exhibitions 1950−53, USA, Italy at Work

>G. Ponti, ‘Studies for liqueur bottles’, pencil and tempera on paper, 1946. Private collection

> ‘Woman in crinoline’, in Domus, 252−253, 1950, p. 58

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4492 f.c.

‘Old Lady Bottle’, with a female shape in glass in two colours, joined using the incalmo technique. Lower part in glass with sapphire and red canes and upper part in red glass. Stopper in sapphire glass. The piece represents the variant in glass with canes, includ-ed in the catalogue in the 1950s, of a model designed by Gio Ponti. For the ‘Old Lady’ bottle, Ponti had planned a version with three colours joined using the incalmo technique (one for the neck, one for the bust and one for the dress). Subsequent possibilities (A and B) provided for two variants for the dress: one in two colours joined us-ing the incalmo technique (A), the other with the lower part decorated with a thread wound in a spiral (B). 1949−5036 cm highvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1950−53, USA, Italy at Work

> ‘Campigliesco Woman’ bottles and ‘Old Lady’ bottles. Period photograph, September 1950

‘Campigliesco Woman’ bottle in dark blue adriatico glass and in colourless transparent glass joined using the double incalmo technique. The piece represents the variant in transparent glass of a model designed by Gio Pon-ti. For the ‘Campigliesco Woman’ Ponti had planned a variant with a transparent dress and bust and stopper/hat in ‘white lattimo’ glass (A) and a variant with a skirt with threads wound in a spiral (‘qui filigranato’ – ‘here filigreed’) (B).1949−5031 cm highMuseo Venini collection, Murano

Exhibitions 1950−53, USA, Italy at Work

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398 399

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4491

4479

4580

4493

4500

‘Bottle with Bowl-shaped Segments’ with stopper in polychrome glass. For this piece, Ponti had planned for the ‘bowls’ a version in ‘dark violet/ yellow/ emerald green/ smoked/ [zaffiro (sapphire)]/ red/dark zaffiro (sapphire) / yel-low/ ruby neck/ white [stopper]’ glass and a version in ‘dark blue zaffiro (sapphire) / yellow/ ruby red/ smoked/ emerald green / white’ glass. As can be gathered from the factory drawing, two different types of stopper were proposed.1949−5035 cm highMuseo Venini collection, Murano

‘Morandiana (V)’ bottle in talpa (mole-grey) glass with base and stopper in lattimo glass. For the ‘Morandiana V’, Ponti had planned a body in ‘white’ transparent glass with a bottom in ‘green’. Initially, a variant of the piece was also produced in opalino glass and one with body and neck in different-coloured transparent glass. The model was exhibited at the 28th Venice Biennale (1956) in green glass with an ‘opaque zaffiro (sap-phire) bottom’. 1949−5036 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for the ‘Morandiana (III)’ bottle in glass with ‘twist-ed canes’. Initially planned in ‘single-coloured’ glass (A?), the model was also proposed in glass with ‘twisted canes’ (B).The model was included in the Red Catalogue with some changes, such as the design of the stopper, neck and shoul-ders. In the second half of the 1950s, a variant was proposed decorated with a horizontal band applied to the body of the piece. 1949−5031 cm high

Exhibitions 1956, Venice, 28th Biennale

‘Morandiana (II)’ bottle with stopper in glass with red and verdognolo (greenish) canes. Of the ‘Morandiana II’, Ponti had planned a variant in transparent glass with an opaque lower part joined using the incalmo tech-nique (A) and one with ‘vertical filigree’ (B). The model was pro-posed again on the occasion of the 28th Venice Biennale (1956) where an example in glass with lattimo filigree and one in talpa (mole-grey) glass with a ‘lattimo base and stopper’ was exhibited.1949−5035 cm highvenini murano ITALIA acid stampPrivate collection

‘Elixir’ bottle, with stopper in glass with red and white lattimo canes. The piece represents the variant in glass with canes of a model designed by Gio Ponti. The bottle had been planned by Ponti in ‘single but stupendous coloured’ glass and in two vari-ants (A and B): one in an elon-gated truncated-cone shape (A), the other with a softer profile and slightly swollen body.1949−5036 cm highvenini murano ITALbA acid stampPrivate collection

> Bottles. Period photograph, September 1950

‘Morandiana (I)’ bottle in glass with red and verdognolo (green-ish) canes with a stopper in red glass. Of the ‘Morandiana I’, Ponti had planned a variant with twisted filigree (mezza fili-grana) (A) and one with ‘vertical filigree’ (B). The model was pro-posed again on the occasion of the 28th Venice Biennale (1956) where an example in glass with talpa (mole-grey) and lattimo canes and a lattimo stopper was exhibited.1949−5032.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1950−53, USA, Italy at Work1956, Venice, 28th Biennale

> Bottles and drinking glasses designed by Gio Ponti and pro-duced by Venini, at the exhibition Italy at Work in Chicago, 1951, detail, cour-tesy Art Institute of Chicago

Exhibitions 1950−53, USA, Italy at Work1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

1957, Hanover, Venini Murano, Orrefors Schweden: Glas

> ‘Morandiana’ bottle in glass with twisted canes. Period photograph, September 1950

Exhibitions 1950−53, USA, Italy at Work1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

> ‘Morandiana’ bottle in two co-lours. Period photograph, September 1950

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400 401

5517

5557

4487

5523

5552 A

Chandelier with twenty arms in opaque glass documented by a period photograph. The model represents a variant of no. 5517 proposed in the catalogue with eight or five arms.1946−4870 cm high

> Chandelier, no. 5517, with twelve arms in opaque glass. Genoa, pe-riod photograph, 1950s

Chandelier with eight arms in glass with several colours and finishings in white glass. The model was also produced in opalino glass and was proposed in the variant with five arms and in a wall version. The design of the piece was revised later and the round element at the bot-tom was replaced by an element in the style of a skull cap.1946−4870 cm high; 50 cm øPrivate collection

>Chandelier with five arms in alba (dawn) glass with several layers of colour and finishings in white glass. Period photograph, early 1950s

> Chandelier with five arms in glass of several colours. Period photograph, early 1950s

Lamp base in glass with broad opaque green and white canes and a white collar.1946−4842 cm highPrivate collection

Chandelier with five arms in rose-coloured glass with sever-al layers of colour and finishings in lattimo glass. The model was proposed in the variant with eight arms and in a wall version.1946−4875 cm highPrivate collection

> Chandelier, no. 5523, in opaque glass. Period photograph, 1950s

Chandelier with five arms in polychrome transparent glass. The model is notable for the characteristic spiral develop-ment of the arm ending with the bell-like light-emitting element, resembling a horn. The model was also proposed in a mono-chrome version and also with four arms.1946−4860 cm highPrivate collection

> Chandelier, no. 5552.Period photograph, March 1954

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PIERO FORNASETTI Piero Fornasetti (1913–1988), painter, pro-lific Milan designer and creator of numerous pieces, established, around 1940, a long and fruitful association with Gio Ponti, who started to publish his works in Domus. In the late 1940s he turned to Paolo Venini for the production of a sin-gular service of wine glasses with a disk-shaped foot, inspired in an ironical way by wind instruments. The service is now documented by three pieces of different dimensions in straw-coloured transparent glass with a side handle suggesting in turn a trumpet, one with and one without keys, and a horn. It was the horn that suggested the vase with a large circular handle, the model of which was includ-ed in the catalogue among those intended for the foreign market, especially the North European and German markets.

TABLE SERVICE c. 1948

Exhibitions

1954, Stockholm, Nordiska Kompaniet, Paolo Venini exhibition

Reference bibliography

Bettagno 1996, no. 186Venini Diaz de Santillana 2000, no. 183Deboni 2007, no. 153

404 405

406 407

7124

n.i.

Vase in the shape of a horn with a disk-shaped foot in red transparent glass.c. 194821 cm highFornasetti collection

Wine glass in the shape of a trumpet, wine glass in the shape of a trumpet with buttons and wine glass in the shape of a horn in pagliesco (straw-co-loured) transparent glass be-longing to a table service inspired by wind instruments.c. 194817 cm; 14 cm; 17.7 cm highvenini murano ITALIA acid stampFornasetti collection

>Horn-shaped vases in a display window of the department store, Nordiska Kom-paniet, in Stockholm. Period photograph, 1954P

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EUGÈNE BERMAN Eugène Berman (1899–1972), a painter and scenographer of Russian origin, lived in Paris up to the early 1940s and then moved to the United States. He came frequently to Italy, drawing and personally interpreting landscapes and architecture, from those of antiquity to the baroque. The founder in France in the 1920s of the ‘neo-romantic’ group, he subsequently turned in the direction of surrealism, to some extent as a result of his meeting with De Chirico. In Italy he built up various relationships that led him to publish, with Piero Fornasetti, a series of lithographs in the 1953 volume Viaggio in Italia. In the same year he also came to Venini’s, where he produced an original table centrepiece entitled Le rovine, which re-interpreted many of the themes present in his graphic and pictorial works. The table centrepiece, executed in colourless transparent glass with a strongly iridised finish, consists of twelve elements: an unusual bicaudal siren with torches, four headless sirens portrayed in different positions, two curved obelisks and various vertical elements the forms of which evoke palm trees and the ‘metae’ (conical poles) of the Roman circuses. Very un-usually, these models were included in the catalogue of the furnace but their production was limited.

LE ROVINE TABLE CENTREPIECE 1951

Reference bibliography

Bettagno 1996, nos. 164–166Venini Diaz de Santillana 2000, no. 182Deboni 2007, nos.142–143

410 411

412 413

4442

4441

4440

Drawing for a headless bicaudal siren, in heavily iridised trans-parent glass, documented by a period photograph. The siren is characterised by the rolled tails and the raised position of the handless arms.195121 cm high

Large curved obelisk in colour-less transparent glass with a heavily iridised finish. The obelisk is supported by four spherical elements (astragals) on a pedestal with a rectangular base decorated on two sides by applied heads. Sphere with points at the top. This model is also known in red transparent glass and in colourless glass.195145 cm highvenini murano ITALIA acid stamp; Venini old labelMarc Heiremans Gallery collection, Brussels

Curved obelisk in colourless transparent glass with a heavily iridised finish. The obelisk is supported by four spherical elements (astragals) on a ped-estal with an equal number of supports. Top decorated by a sphere with points.195132 cm highvenini murano ITALIA acid stampHoward J.Lockwood collection, Fort Lee, NJ

> Siren, no. 4442, and obelisks nos. 4440 and 4441, in heavily iridised colourless transparent glass. Period photograph, 1950sE

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4444

4446

4436

4435

Drawing for a headless bicaudal siren, in colourless transparent glass, documented by a period photograph. The siren, holding one of the two tails with one hand, is resting on a pedestal with a circular base.195122 cm high

Headless, handless, bicaudal siren in heavily iridised colour-less transparent glass. The si-ren is characterised by her bust leaning forwards towards the raised tail, while the other tail is folded behind the pelvis.195115 cm highPrivate collection

Drawing for a pyramid-shaped element which in its form re-calls the ‘metae’ (conical poles) of the Roman circuses. Low circular pedestal with three supports.195122 cm high

Curved palm tree in colourless transparent rigardin ritorto (twisted ribbing glass), with a heavily iridised finish. The palm tree, resting on a pedestal with a circular base, has a trunk decorated with a ribbon wound in a spiral.195129 cm highvenini murano italia acid stampPrivate collection

>Palm tree, no. 4442, sirens, nos. 4444 and 4446, and ‘meta’ (conical pole) in heavily iridised, co-lourless transparent glass. Period photograph, 1950s

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4443

44454438

4439

4437

Bicaudal siren on a pedestal with a circular base, in heavily iridised colourless transparent glass. The siren is holding two torches in her hands and with one arm supports one of the two tails.195129 cm highRenzo Fuga collection, Venice

Drawing for a headless bicaudal siren to be produced in iridised transparent glass. The siren, her sides girded by a strap, is holding her two tails with her handless arms and is resting on a pedestal with a circular base.195125 cm high

Drawing for a palm tree on a circular base to be produced in heavily iridised transparent glass.195120 cm high

Drawing for a palm tree on a low circular base with three supports (‘balls’) to be produced in heavily iridised transparent glass, with a flame-like decoration.195126 cm high

Drawing for a palm tree to be produced in heavily iridised transparent glass.195124 cm high

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KEN SCOTT The American George Kenneth Scott, known as Ken Scott (1918–1989), following his studies in design moved to Europe at the end of World War II, first to Paris and then to Milan, dedicating himself to the fashion sector. His intermittent association with the glassworks of Paolo Venini started in 1951 and resulted in a gaily coloured series of fish produced for the New York depart-ment store, Macy’s, where they were shown on the occasion of an exhibition ded-icated to Italian products. The series comprised 16 models of fish, a shell and a starfish characterised by brilliant novel polychrome patterns obtained with the use of the cased-glass technique and enriched by decoro fenicio, applied threads, etc. Because of their particular character, they were proposed again in the 1970s and enjoyed a wide success. Presumably with a view to this series, Scott initially proposed a fish in transparent glass characterised by coloured bands, which was included in the catalogue under no. 4495.

FISH 1951

Exhibitions

1951, New York, Macy’s, Italy in Macy’s

Reference bibliography

Domus, 355, June 1959, p. 37Domus, 404, lJuly 1963, p. 40Bettagno 1996, no. 168Venini Diaz de Santillana 2000, no. 181

420 421

422 423423

11050

11051

11052

Fish in polvere di the (tea-dust) sommerso glass with decora-tions in melanzana (aubergine) and zolfo (sulphur-coloured) glass. Eye in zolfo, melanzana and orange glass.195143.5 cm widePrivate collection

Fish in black opaque sommerso glass with zolfo (sulphur-co-loured) and coral canes includ-ed in the wall. Eye in turquoise glass.195135 cm highPrivate collection

Fish in opaque polvere di the (tea-dust) sommerso glass with a Phoenician decoration in am-etista (amethyst) glass having finishings in lattimo. Eye in dark ametista and lattimo glass.195134 cm widePrivate collection, Paris

> Installation with fish designed by Ken Scott in the depart-ment store, Macy’s, New York, in 1951. Period photograph

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11053

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Fish in opaque ametista (ame-thyst) sommerso glass decorat-ed with a weft of dark ametista threads included in the wall. Eye in dark zolfo (sulphur-coloured) and ametista glass. Iridised surface.195136 cm wideGerardo Figliola collection, Turin Gallery, Turin

>> Basket with fish in opaque glass. Advertising postcard of Altami-ra, Venini authorised dealer in America, 1960s

Fish in very thick colourless transparent glass decorated with alternating acquamare and talpa (mole-grey) opaque canes, incorporated in the wall. Fin-ishings and eye in dark ametista (amethyst) glass.195133.5 cm wideVenini old labelPrivate collection

Fish in lattimo glass cased in pagliesco (straw-colour) with decorations in dark and ruby ametista (amethyst) glass. Eye in dark and ruby-coloured ame-tista glass.195112 cm high; 49 cm widePrivate collection

Fish in very thick rose-coloured transparent glass decorated with alternating polvere di the (tea-dust) and zolfo (sul-phur-coloured) canes, incorpo-rated in the wall. Eye in acqua-mare and lattimo glass.195147 cm wideMuseo Venini collection, Murano

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11058

11059

11060

11057

Fish in orange glass cased in transparent glass with a black decoration included in the wall. Eye in black and lattimo glass.195131.8 cm widevenini ITALIA acid stampChrysler Museum of Art, Norfolk, VA; Gift of Sheri Sandler in memory of Sam and Reba Sandler

Fish in coral glass cased in transparent glass with a black Phoenician decoration included in the wall. Finishings in black. Eye in black and lattimo glass.195130 cm widePrivate collection

Fish in dark ametista (amethyst) glass cased in transparent glass with a zolfo (sulphur-co-loured) Phoenician decoration. Eye in black and turquoise glass.195138 cm highCollection of Sheri Sandler

Fish in dark ametista (amethyst) cased in transparent glass decorated with zolfo (sulphur-coloured) and turquoise canes included in the wall. Eye in black and turquoise glass.195134.5 cm widePrivate collection, Paris

> ‘Fish in opalino’, in Domus, 404, July 1963, p. 41

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11063

11067

449511062

11064

11061

11065 11066

Fish in very thick rose-coloured glass decorated with coral and zolfo (sulphur-coloured) canes included in the wall. Eye black and turquoise. Surface strongly iridised.195120.5 cm widePrivate collection, Paris

Shell in orange glass cased in transparent glass decorated with dark ametista (amethyst) threads included in the wall.19516.4 cm high; 10 cm wideChrysler Museum of Art, Norfolk, VA; Gift of Sheri Sandler in memory of Sam and Reba Sandler

Fish in colourless transparent glass decorated with zaffiro (sapphire), talpa (mole-grey), dark ametista (amethyst) and red bands. Surface strongly iridised.195120 cm widevenini murano ITALIA acid stampPrivate collection, Germany

Fish in lattimo glass cased in light-blue glass with a dark ametista (amethyst) Phoenician decoration included in the wall. Eye in black glass.195124 cm widevenini murano ITALIA acid stampPrivate collection

Fish in lattimo glass cased in dark-blue adriatico glass with a black Phoenician decoration included in the wall. Finishings and eye in black glass.195117 cm widevenini murano acid stampPrivate collection

Fish in lattimo glass cased in zaffiro (sapphire) glass decorat-ed with a weft of black threads included in the wall. Finishings and eye in black glass.195128 cm widevenini murano ITALIA acid stampFranco Sabatelli collection

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HFish in coral glass cased in transparent glass with a dark ametista (amethyst) Phoenician decoration included in the wall. Eye in dark ametista glass.c. 195114.5 cm widevenini murano ITALIA acid stampPrivate collection, Paris

Starfish in green transparent glass with lattimo decorations included in the wall.195115.5 cm wideCollection of Sheri Sandler

430 431

RICCARDO LICATA Born in Turin, the painter Riccardo Licata (1929–2014) from 1946 lived in Venice, where he studied at the Accademia di Belle Arti. He became associated with a group of abstract artists and from 1949 began to exhibit. His first personal exhibition took place in 1951 at the Galleria Bevilacqua La Masa. In the early 1950s he became more involved with mosaic and Murano glass, frequenting various glassworks, among them S.A.L.I.R. and Gino Cenedese, with which he exhibited at the Biennale of 1952. He then came to the Venini glassworks, with which he collaborated for a brief period between 1953 and 1954, devoting himself to the study of new murrine. To these he trans-ferred the fruits of his artistic research, consisting of ‘scripts’ and ‘signs’, which in this context took on a new material consistency. The result of this work was, for example, murrine such as those of the spugna, pettine, trifoglio, quadrato and ruota and these, combined variously, resulted in novel polychrome glass tessuti. They were used for the production of small goblets and to embellish some glass pieces, such as the ad incalmo pieces exhibited at the Biennale of 1956, the ma-jority of which were characterised by a band with murrine ‘set’ at the centre of the vase in white opalino or in transparent coloured glass.

MURRINE 1953–54; 1956

Exhibitions

1956, Venice, 28th Biennale Internazionale d’arte1956, Göteborg, Muranos glas1957, Hanover, Venini Murano, Orrefors Schweden: Glas1957, Linz, Venini-Murano und Orrefors-Schweden1957, Vienna, Venini Murano Glas1960, Milan, 12th Triennale di Milano, exhibition in memory of Paolo Venini

Reference bibliography

Domus, 324, November 1956, p. 37Domus, 325, December 1956, no page numberSiepen 1957, p. 7Venini Murano, Orrefors Schweden: Glas 1957, nos. 58–60Domus, 361, December 1959, p. 39Warnecke 1965, p. 76

432 433

434 435

436 437

3608

4137

4460

Double incalmo vase in trans-parent talpa (mole-grey) glass with a central band having latti-mo and zolfo (sulphur-coloured) ‘comb’ murrine. The piece was produced after a model present in the catalogue of the glass-works and designed by Carlo Scarpa in the 1930s. A similar example in talpa glass with zolfo and red ‘comb’ murrine was exhibited at the 28th Venice Bi-ennale (1956).195642 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale

Large double incalmo cylindrical vase in white opalino glass with a central band having black, lattimo and zolfo (sulphur-co-loured) ‘sponge’ murrine. A similar example, with the same colours, was exhibited at the 28th Venice Biennale (1956).1956cm 42 highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale

>Double incalmo glass pieces having a central band with murrine. Period photograph, c. 1956

Double incalmo vase in trans-parent zaffiro (sapphire) glass and in transparent talpa (mole-grey) glass with a central band having black and lattimo ‘comb’ murrine and ‘clover’ murrine. The piece was produced after a model present in the catalogue of the glassworks among the zanfirico glass pieces.195612.9 cm highvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas1960, Milan, 12th Triennale

>Double incalmo glass pieces hav-ing a central band with murrine exhibited at the 28th Venice Bi-ennale (1956). Period photograph

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3836 3858

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3517

Double incalmo vase in trans-parent green glass and trans-parent zaffiro (sapphire) glass with a central band having coral and lattimo comb murrine and black and lattimo ‘comb’ mur-rine. A similar example, with the same colours, was exhibited at the 28th Venice Biennale (1956).195625 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase with an irregular flattened cross-section in double incalmo in melanzana (aubergine) glass and in oceano (ocean) blue glass with a central band having black, lattimo and zolfo (sul-phur-coloured) ‘sponge’ murrine. A similar example in oceano glass with black, lattimo and zolfo I murrine was exhibited at the 28th Venice Biennale (1956).195624.5 cm highvenini murano acid stamp; Venini old labelBischofberger collection, Switzerland

Exhibitions 1956, Venice, 28th Biennale1960, Milan, 12th Triennale

Bowl in glass with black and lattimo ‘comb’ murrine and black, zolfo (sulphur-coloured) and lattimo ‘square’ murrine. Band in zaffiro (sapphire) transparent glass joined using the incalmo technique. A similar example with the same murrine and rim in horizontal glass was exhibited at the 28th Venice Biennale (1956).19567 cm high; 18 cm øvenini murano ITALIA acid stampPrivate collection

Exhibitions 1956, Venice, 28th Biennale1957, Vienna, Venini Murano Glas1957, Hanover, Venini Murano, Orrefors Schweden: Glas1960, Milan, 12th Triennale

Double incalmo vase in white opalino glass with a central band having black and lattimo ‘a puntini’ (‘dotted’) murrine. The piece was produced after a model present in the catalogue of the glassworks and designed by Carlo Scarpa in the 1930s. A similar example, with the same colours, was exhibited at the 28th Venice Biennale (1956).195618.5 cm highvenini murano ITALIA acid stampPrivate collection, Udine

Exhibitions 1956, Venice, 28th Biennale1957, Hanover, Venini Murano, Orrefors Schweden: Glas

>Double incalmo glass pieces having a central band with murrine exhibited at the 28th Venice Biennale (1956). Period photograph

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4133

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4131

Vase with an oval cross-section in (colourless) white transpar-ent glass decorated with four vertical lines of black and latti-mo ‘comb’ murrine.195616 cm highvenini murano ITALIA acid stampPrivate collection

Bowl in glass with black and lattimo ‘wheel’ murrine with a rim in red transparent glass joined using the incalmo (hot welding) technique. A similar example, with the same colours, was exhibited at the 28th Venice Biennale (1956).19568.1 cm high; 12.8 cm øvenini murano ITALIA acid stampThe Steinberg Foundation collection/ The Corning Museum of Glass, Corning, NY

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Bowl in glass with black, red and lattimo ‘square’ murrine and lattimo and black (‘sponge’) murrine.19565 cm high; 18 cm øvenini murano ITALIA acid stampPrivate collection

>Double incalmo vases with a central band in glass with murrine and bowls with murrine having a band joined using the incalmo (hot welding) technique. Period photograph, c. 1956.

>Double incalmo vases with a central band in glass with murrine. Period photograph, c. 1956.

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CHARLES LIN TISSOT Charles Lin Tissot (1904–1994), the Ameri-can designer, in the early 1950s worked with the Steuben Glass company of Corning, NY — which produced pieces in crystal — designing a display and some panels in engraved glass. In 1955 he came to Venini’s to learn the Mu-rano techniques and produce a collection of glass pieces for the prestigious New York gallery, Bonnier, which devoted an exhibition to these works in No-vember of the same year. An initial series comprised mainly pieces (bowls, bot-tles and vases) with a thick base in colourless transparent glass, within which were incorporated a retortoli canes with a spiral development. Having deep-ened his knowledge of the zanfirico technique, Lin Tissot adopted it for a sec-ond group of delicate artefacts using various types of canes, such as the I, Q and T types, but above all the M type, with its characteristic honeycomb mo-tif repeated vertically. While the first series was intended principally for the American market, the zanfirici of Tissot were distributed more widely and were also illustrated in the pages of Domus in January 1956 among the more recent Venini products. Around 1957 Lin Tissot returned to the glassworks to design a series of sandglasses, also for Bonnier, and again using zanfirico canes (cf. chap-ter Paolo Venini, Sandglasses, in the present volume).

SUBMERGED ZANFIRICO 1955ZANFIRICI 1955

Exhibitions

1955, New York, Bonnier, Glass Designed by Lin Tissot, Paolo Venini, November1956, Göteborg, Muranos glas1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Reference bibliography

Craft Horizons, November–December 1955, p. 5Craft Horizons, January-February 1956, pp. 20–21Domus, 314, January 1956, p. 48Domus, 316, March 1956, no page numberVenini Murano, Orrefors Schweden: Glas 1957, no. 5Domus, 361, December 1959, p. 38 and plate

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4602

> Bowl, no. 4602, and Bottle, no. 4606, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955.

Drawing for a tall tapering bottle, with a stopper, in trans-parent glass. Cylindrical base in solid glass decorated with sommerso zanfirico.195548 cm high

Bowl in transparent glass with a foot in the shape of a truncated cone in solid glass decorated with sommerso zanfirico. Collar at the base of the bowl in co-lourless transparent glass.195517.6 cm highvenini murano ITALIA acid stampPrivate collection

> Bowls, nos. 4656 and 4602, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955

Bowl in colourless transparent glass with a foot in solid glass decorated with lattimo and ci-clamino (cyclamen) sommerso zanfirico. Collar at the base of the bowl in colourless transpar-ent glass.195521 cm highvenini murano ITALIA acid stampPrivate collection

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Large wine glass in colourless transparent glass with a foot in solid glass decorated with latti-mo sommerso zanfirico. Collar at the base of the bowl in colour-less transparent glass.195523 cm highvenini murano ITALIA acid stampPrivate collection

Wine glass in colourless trans-parent glass with a foot in solid glass decorated with lattimo sommerso zanfirico. Collar at the base of the bowl in colourless transparent glass.195523 cm highvenini murano ITALIA acid stampPrivate collection

Large wine glass with a foot in the shape of a truncated cone in solid glass decorated with lattimo and ruby sommerso zan-firico. Collar at the base of the goblet in colourless transparent glass. Bowl of the goblet in co-lourless transparent glass with lattimo canes included in the wall.195531.6 cm highvenini murano ITALIA acid stampPrivate collection

Wine glass in colourless trans-parent glass with a tall foot in the shape of a truncated cone in solid glass decorated with lattimo sommerso zanfirico. 195515 cm highvenini murano ITALIA acid stampPrivate collection

> Wine glass, no. 4655, and paper-weight, no. 4608, in transparent glass and in sommerso zanfirico in Craft Horizons, February 1956, p. 20

> Wine glasses, nos. 4600, 4650 and 4601, in transparent glass and in som-merso zanfirico. Period photograph, c. 1955, detail

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Drawing for a tall vase with a lid in transparent glass. Cylindrical base and knob of the lid in solid glass decorated with sommerso zanfirico.195550 cm high

> Vase with a lid, no. 4651, in trans-parent glass and in sommerso zanfirico. Period photograph, c. 1955, detail

Drawing for a large vase in transparent glass with a base in solid glass decorated with sommerso zanfirico.195535 cm high

> Bottle, no. 4652, and vase, no. 4653, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955

Large bottle with stopper in colourless transparent glass having lattimo threads wound around the body of the piece. Swollen base in solid glass decorated with ciclamino (cycla-men) and ametista (amethyst) sommerso zanfirico.195552.5 cm highvenini murano ITALIA acid stampPrivate collection

Large candlestick in colourless transparent glass with a tall base in the shape of a truncated cone in solid glass decorated with lattimo sommerso zanfirico. Small wax-catching bobèche in colourless transparent glass.195533 cm highvenini murano ITALIA acid stampPrivate collection

> Candlesticks, nos. 4604, 4654 and 4603, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955, detail

Drawing for a candlestick in transparent glass with a tall base in solid glass decorat-ed with sommerso zanfirico. Wax-catching bobèche in the shape of an upside-down truncated cone.195523 cm high

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4612

4611

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Drawing for a paperweight in transparent solid glass deco-rated with an applied element in the form of a ‘prow-head iron’, typical of Venice gondolas. 195519 cm high

Paperweight in the shape of a truncated cone in colourless solid glass decorated with lattimo and dark ametista (ame-thyst) sommerso zanfirico.195511.5 cm highvenini murano ITALIA acid stampPrivate collection

Paperweight in the shape of a truncated cone in colourless solid glass decorated with ci-clamino (cyclamen) and lattimo sommerso zanfirico. The model forms part of a series of six truncated-cone-shaped paper-weights of different sizes (nos. 4607-4611 and 4613).195510 cm highPrivate collection

> Paperweights, nos. 4607-4611 and 4613, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955

Paperweight in the shape of a truncated cone in colourless solid glass decorated with ci-clamino (cyclamen) and lattimo sommerso zanfirico.19558 cm highvenini murano ITALIA acid stampPrivate collection

Catalogue drawing for a can-delabrum in transparent glass with a central support in solid glass decorated with sommerso zanfirico.195514 cm high

> Wine glass, no. 4655, and cande-labrum, no. 4605, in transparent glass and in sommerso zanfirico. Period photograph, c. 1955, detail

Candlestick in transparent glass with a tall base in solid glass decorated with lattimo sommerso zanfirico. Wide wax-catching bobèche in co-lourless transparent glass.195520 cm highvenini murano ITALIA acid stampPrivate collection

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4704

4705

4706

> Vases, nos. 4704-4706, in zanfirico glass with Type M lattimo canes. Period photograph, c. 1955. The image was also published in Domus in the Jan-uary issue of 1956

Vase in zanfirico glass with Type M lattimo canes. The model, with a hexagonal profile, is a variant in zanfirico glass of no. 4318 present in the catalogue of the glassworks and designed by Fulvio Bianconi in 1950.195520 cm highMartin Cohen and José Arias collection

>Vase no. 4704 in zanfirico glass with Type M lattimo canes, in Craft Horizons, January-Febru-ary 1956, p. 21

Vase in zanfirico glass with Type M lattimo canes, with a tall flared neck.195528 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1957, Hanover, Venini Murano, Orrefors Schweden: Glas

Vase in zanfirico glass with Type Q lattimo and ciclamino (cyclamen) canes. The model is documented by a period photo-graph in the variant with Type M lattimo canes.195529.5 cm highvenini murano ITALIA acid stampPrivate collection

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Bowl in zanfirico glass with lattimo ‘ballottini’ (‘beads’) canes, Type Q.195525 cm øPrivate collection

>Bowl in zanfirico glass, with Type Q lattimo canes. Period photograph, c. 1955

Vase in the shape of a truncated cone in zanfirico glass docu-mented by a period photograph in the variant with alternating Types I and T canes.195520 cm high

>Vases, nos. 4706 and 4705, in zanfirico glass with Type M canes and vase, no. 4713, with Types I and T canes. Period photograph, c. 1955

Vase in the shape of a truncated cone in zanfirico glass docu-mented by a period photograph in the variant with Type Q canes. The piece also appears in an illustration published by Domus in the issue of January 1956.195515 cm high

> Bowl and vases in zanfirico glass in Domus, 314, January 1956, p. 48

Drawing for a large bowl in zan-firico glass documented by a period photograph in the variant with Type M lattimo canes. The model is among the glass piec-es published by Domus in January 1956.195534 cm øvenini italia vibro-engraved signaturePrivate collection

> Bowl in zanfirico glass with Type M lattimo canes. Period photograph, c. 1955

Low bowl with inclined walls in zanfirico glass, documented by a period photograph, in the vari-ants with Types M and Q canes and alternating Types I and T canes. The model is among the glass pieces published by Domus in January 1956.195515 cm ø

> Bowl, no. 4710, in three variants of zanfirico glass. Period photograph, c. 1955

Vase with an oval cross-section in zanfirico glass with Type M zaffiro (sapphire) canes. The model is among the glass pieces published by Domus in January 1956.195512 cm high; 22 cm øvenini murano ITALIA acid stampPrivate collection > Vases, nos. 4707 and 4704, in zanfirico glass with Type M lattimo canes. Period photograph, c. 1955

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4701

4702

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4715

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Vase in zanfirico glass with Type M ciclamino (cyclamen) canes. 195519.5 cm highvenini murano ITALIA acid stampPrivate collection

> Vases, nos. 4702, 4700 and 4701, in zanfirico glass with Type M lattimo canes. Period photograph, c. 1955

Small cylindrical vase in zan-firico glass with Type Q lattimo canes. The model is also docu-mented by a period photograph in the variants with Type M cane and Types I and T canes.195512 cm highPrivate collection

> Bowl and vases in zanfirico glass. Period photograph, c. 1955, detail

Cylindrical vase in zanfirico glass with alternating black (dark ametista - amethyst) and lattimo Types I and T canes. The model is among the glass piec-es published by Domus in January 1956.195528.7 cm highVenini old labelPrivate collection

Drawing for a large bottle with stopper in mezza filigrana or ‘filigrana rada’ glass document-ed by a period photograph. A similar example was exhibited in 1956 at the 28th Venice Bi-ennale (1952), where it was de-scribed as a bottle in ‘filigrana zaffiro girata’ (‘sapphire twisted filigree’).195542 cm high

Exhibitions 1956, Venice, 28th Biennale

>Bottle and vase in mezza filigra-na glass. Period photograph, c. 1955

Vase in zanfirico glass with Type M ciclamino (cyclamen) canes. The model represents the vari-ant in zanfirico glass of model no. 3885 present in the cata-logue of the glassworks from 1954 approximately.195517.3 cm highVenini old labelPrivate collection

> Vases in zanfirico glass, nos. 4702 and 4703. Period photograph, c. 1955, detail

Vase with an oval cross-section in zanfirico glass documented by a period photograph in the variant with Type M lattimo canes.195524 cm highvenini italia acid stampPrivate collection

>Vases in zanfirico glass, nos. 4714 and 4700. Period photograph, c. 1955

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MASSIMO VIGNELLI After some years at the Milan Polytechnic (1951–53), Massimo Vignelli (1931–2014) moved to Venice in 1953 to continue his studies at the Istituto Universitario di Architettura [University Institute of Architecture]. Shortly afterwards he was called upon by Paolo Venini to work with lighting. During his experience at the Venini firm, extending up to approximately 1957, Vignelli designed a great number of lamps for mass production inspired by Nordic design, which he re-interpreted through the techniques and colours of Murano. Extensively documented by the review Domus, these pieces were frequently executed in opalino glass, sometimes in combination with bands of colour, but also in tessuto glass with thin bichrome canes. Notable among them were the suspension lamp, no. 4039, and the table lamp, no. 4040, in opalino, known as Zaffiro, both received honorable mention in 1956 at the third Compasso d’Oro competition. For Venini, Vignelli also designed an elegant table service in a spicchi glass (1957). To this were added table services and household objects in engraved glass and silver, the fruit of the collaboration between the glassworks and the silverwork firm, Christofle in Italy. The carafes were originally designed by Vignelli in 1957 for the American firm Towle Silversmiths USA, which, however, fol-lowing a market survey, did not approve them. Proposed by their designer to Venini in the early 1960s, they constituted the basis for the new series which went into production in 1963 and which also included models designed by Lino Sabbatini for Christofle — exhibited at the 12th Triennale of Milan (1960) — re-interpreted from a ‘Murano’ perspective.

TABLE SERVICE 1957GLASS AND SILVER VENINI/CHRISTOFLE 1957; 1963LIGHTING 1954–55

Exhibitions

Table Service1960, Venice, XXX Biennale Internazionale d’arte

Lighting1956, Venice, XXVIII Biennale Internazionale d’arte1958, Venice, XXIX Biennale Internazionale d’arte1959, Corning, Glass 19591959, Helsinki, Artek, Venini exhibition

Reference bibliography

Table ServiceVignelli Associates 1990, p. 268Deboni 1989, no. 113

Glass and SilverDomus, 404, July 1963, pp. 39–41Vignelli Associates 1990, p. 269

LightingDomus, 313, December 1955, no page numberInterior design, August 1955, p. 119Domus, 314, January 1956, pp. 46–47 Domus, 316, March 1956, no page numberDomus, 324, November 1956, p. 37Glas im Raum, January 1957, pp. 9–11Dell’Oro 1958, p. 2Glass 1959 1959, pp. 229–230Domus, 361, December 1959, plate

464 465

466 467

468 469

0983

n.i.

n.i.

Table service with pitcher and tumblers in glass with ametista (amethyst), acquamare, talpa (mole-grey) and white glass segments. Some examples of this service, in the Stockholm variant (talpa, rose-coloured, grape-coloured, aquamarine), were exhibited at the 30th Ven-ice Biennale (1960).195731 cm; 12.5 cm highvenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Venice, 30th Biennale

Exhibitions 1960, Venice, 30th Biennale

>‘Venini engraved lay-ered glass and Chris-tofle silverplate in Domus, 404, August 1963, p. 40

Carafe with a globe-shaped body in erba (grass-coloured) layered glass, with several strata of colour, finished with horizontal light grinding. Handle and mount in silver.1957; 196325.4 cm highThe Olnick Spanu Collection, New York

Carafe with a cylindrical body in layered notte (‘night’) blue glass, with several strata of colour, finished with horizontal light grinding over the whole surface. Handle and mountin silver.1957; 196330 cm highvenini murano italia acid stampPrivate collection

> Carafes in glass and silver in Domus, 404, August 1963, p. 39

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1706*

1704*

1696*

Table service with carafe and tumblers in silver and in layered notte (‘night’) blue glass, with several strata of colour, finished with velature and light grinding. 1957; 196323 cm; 11 cm highPrivate collection

>Carafes and tum-blers in glass and silver. Period photograph, c. 1963.

Carafe with a cylindrical body in layered ottone (brass) glass, with several strata of colour, finished with horizontal light grinding. Handle and mount in silver.1957; 196325 cm highvenini murano ITALIA acid stampPrivate collection

> Carafes in glass and silver in Do-mus, 404, August 1963, p. 39

Large bowl for fruit salad in lay-ered bronzo (bronze) glass, with several strata of colour, finished with velature and light grinding.. Foot, handles and mount in silver.1957; 196319 cm high; 29 cm øPrivate collection

> Fruit-salad service and table service in glass and silver. Period photograph, c. 1963

Candleholders in layered cor-niola (carnelian-coloured) glass, with several strata of colour, finished with velature and with a mount in silver. The model was offered in two different heights (h 23 cm and h 14 cm).1957; 196323.5 cm highPrivate collection

> Candleholders in glass and silver. Period photograph, c. 1963

Cylindrical vase in silver with a lid in corniola (carnelian-co-loured) layered glass, with several strata of colour, finished with velature and light grinding.1957; 196312 cm high; 9.5 cm øvenini murano ITALIA acid stampPrivate collection

Cylindrical vase in silver with a lid in notte (‘night’) blue layered glass, with several strata of co-lour, finished with velature and light grinding. Band in silver at the top of the vase.1957; 196314 cm highPrivate collection

> Candleholders and vases in glass and silver. Period photograph c. 1963

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Suspension lamp in tessuto glass with fine lattimo, green canes and zaffiro (sapphire).1954−5534 cm highPrivate collection

M. Vignelli, Study for suspension lamps, graphiteand coloured pencil on paper, c. 1955

Suspension lamp in white opal-ino glass with a decoration of vertical zolfo (sulphur) zaffiro (sapphire), red and black canes included in the wall of the piece.1954−5540 cm highGerardo Figliola collection, Turin Gallery, Turin

>Lamps in opalino glass, nos. 4043 and 4029, and lamp in opalino glass with a decora-tion of canes. Period photograph, April 1964

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Suspension lamps in green opalino glass, in sulphur opal-ino glass, in zaffiro (sapphire) opalino glass, in polvere di the (tea-dust) opalino glass, in vi-olet opalino glass and in white opalino glass. Three similar ex-amples, in green opalino, in zolfo (sulphur-coloured) opalino and in zaffiro (sapphire) opalino were exhibited at the 28th Venice Bi-ennale (1956). The model is one of the first lamps after a design by Vignelli published by Domus (cf. no. 313, December 1955).1954−5525 cm highPrivate collection, Venice

Exhibitions 1956, Venice, 28th Biennale1959, Corning (USA), Glass 1959

> Lamps in opalino glass, no. 4034, in Domus, 313, December 1955, n.p.

Drawing for one of the sus-pension lamps in opalino glass which were exhibited at the 29th Venice Biennale. On that occasion three examples were presented of no. 4049 in ‘tea/ sulphur’ glass, ‘sulphur’/ ame-tista (amethyst)’ glass and ‘ame-tista/adriatico’ glass.1954−5528 cm high

Exhibitions 1958, Venice, 29th Biennale

> Lamps in opalino glass, nos. 4047 and 4049, and lamp in glass with canes. Period photograph, April 1964

Suspension lamp in polvere di the (tea-dust) opalino glass. Two similar examples in ‘zaffiro (sap-phire) /green and ‘tea/sulphur’ glass were exhibited at the 29th Venice Biennale (1958). 1954−5534 cm highPrivate collection

Exhibitions 1958, Venice, 29th Biennale

Suspension lamp in the shape of a globe in tessuto glass with fine zaffiro (sapphire) and lattimo canes.1954−5530 cm highPrivate collection

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Suspension chandelier in zaf-firo (sapphire) opalino glass. Two similar examples, in ‘talpa (mole-grey) opalino’ and in ‘sul-phur tessuto’, united in a single structure, and another in red opalino, were exhibited at the 28th Venice Biennale (1956). The model is one of the first lamps after a design by Vignelli published by Domus (cf. no. 313, December 1955).1954−5530 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

Suspension lamp in white opalino glass with sulphur, green, ametista (amethyst) and rose-coloured bands.1954−5526 cm highPrivate collection

> Lamp in opalino glass, no. 4030, and lamp in opalino glass with bands of colour, no. 4038. Period photograph, April 1964

Suspension lamp in polvere di the (tea-dust) opalino glass. Two similar examples, in ‘sulphur lattimo’ and ‘zaffiro (sapphire) lattimo’ tessuto glass, were ex-hibited at the 28th Venice Bien-nale (1956).1954−5528 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

Suspension lamp in white opal-ino glass decorated with zaffiro (sapphire) and green canes. A similar example in ‘sulphur tessuto’ was exhibited at the 28th Venice Biennale (1956). The model is one of the first lamps after a design by Vignelli published by Domus (cf. no. 313, December 1955).1954−5525 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

> Lamp in opalino glass with bands of colour, no. 4034, and lamp in opalino glass, no. 4027. Period photograph, April 1964

>> Lamps in opalino glass, no. 4034, in Domus, 313, December 1955, n.p.

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Catalogue drawing for a sus-pension lamp in opalino glass with the upper section having black (dark ametista [ame-thyst]), red, green and zaffiro (sapphire) bands.1954−5534 cm high

Suspension lamp in opalino glass with the upper truncat-ed-cone-shaped part having black (dark ametista [ame-thyst]), red, green and zaffiro (sapphire) bands. 1954−5538 cm highPrivate collection

> Lamp, no. 4037, in Domus, 314, January 1954, p. 47

Suspension lamp in opalino glass with black (dark ametista [amethyst]), red, green and zaffiro (sapphire) bands. Three similar examples, in white opal-ino glass, were exhibited at the 28th Venice Biennale (1956).1954−5528 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

> Lamp, no. 4028, in glass with bands of colour exhibited at the Corning Museum of Glass in 1959. Period photograph

Suspension lamp in opalino glass with black (dark ame-tista [amethyst]), red, green and zaffiro (sapphire) bands. A similar example was exhibited at the 28th Venice Biennale (1956). The model, also known as ‘Cigar’, was proposed also in opalino glass with the lower part having bands of colour.1954−5535 cm highMuseo Venini collection, Murano

Exhibitions 1956, Venice, 28th Biennale

> ‘Lamps in variously coloured glass’ in Domus, 314, January 1956, p. 46

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Suspension lamp in opalino glass decorated with broad red canes. The model, also known as ‘Onion’, is one of the first lamps after a design by Vignelli published by Domus (cf. no. 313, December 1955).1954−5535 cm highvenini murano acid stampPrivate collection

> Lamp, no. 4037, in Domus, 361, December 1959, p. 43

Table lamp in white opalino glass with broad canes in red glass. The model, also known as ‘Mushroom’ or ‘Zaffiro’ (Sap-phire), was brought to the atten-tion of the Compasso d’Oro of 1956. The same design was also used, upside down, for suspen-sion lamps.1954−5535 cm high; 25 cm widePrivate collection

>Lamps, nos. 4040 and 4039, in Contemporary Italian Light-ing, Altamira catalogue, 1950s, Howard Lockwood Archive, New Jersey

Suspension lamp in light ame-tista (amethyst) opalino glass. Two similar examples, in ‘talpa (mole-grey)/ sulphur’ and ‘tea/ sulphur’ opalino glass, were exhibited at the 29th Venice Bi-ennale (1958).1954−5525 cm highPrivate collection

Exhibitions 1956, Venice, 28th Biennale

Suspension lamp in the shape of a Chinese lantern in zaffiro (sapphire) opalino glass with deep ribbings obtained by blow-ing into a metal ‘cage’ left with openings. The model is one of the first lamps after a design by Vignelli published by Domus (cf. no. 313, December 1955). As in-dicated in the factory Quaderno Nero (Black Notebook), a similar model was also proposed with tighter ribbing and a narrower base, with no metal mounting (‘without a cage’) (no. 4032, h 33 cm).1954−5533 cm highPrivate collection

Suspension lamp in the shape of a lantern in white opalino glass with deep ribbings ob-tained by blowing into a metal ‘cage’. As documented by a Ve-nini advertising page, the piece was also proposed with a metal mounting.1954−5518 cm highPrivate collection

> Lamps in opalino glass in an advertising page of Altamira, the American Venini dealer, August 1955

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TOBIA SCARPA The young architect Tobia Scarpa (born 1935), who was called upon to replace Massimo Vignelli when the latter left for the United States, worked with the Venini firm from 1957–58 to 1962 approximately, de-voting himself in particular to execution techniques and research on the mate-rials. For the glassworks he proposed some table services in transparent glass and some new series of glass pieces such as the occhi, the battuti, the murrine opache and the cinesi, also called opaconi from the consistency of their glass. The occhi in particular represent an attentive interpretation of certain glass pieces designed by his father Carlo before the war. They are characterised by the use of original murrine with a colourless transparent nucleus and rim in coloured glass or glass paste with vivid colours. Because of the different cool-ing times of the nucleus and rim, in the finished piece the occhi (eyes) jut out slightly, so protruding into the coloured net that characterises these pieces. As for the battuti glass pieces, these are very thick pieces for which Tobia Scarpa had devised a singular method of production. This provided for the shaping of the object using molten glass which, after it had been placed on a mould, was drawn downwards using specific pliers. The artefact, once it had cooled, was fin-ished with the grindstone to obtain the characteristic irregularly satin-finished surface. Produced in delicate colours, the battuti pieces, the shapes of which show traces of Nordic influences, were subsequently developed by Ludovico de Santillana who, after the death of Paolo Venini, took over the role of artistic director of the furnace. They achieved considerable success, which probably led to a simplification of the production of technique by the glassworks and to their wider distribution.

BATTUTI 1959–61OCCHI 1959–60CINESI 1960–61MURRINE 1959–62TABLE SERVICE 1959–60

Exhibitions

Battuti1960, Milan, XII Milan Triennale, exhibition in memory of Paolo Venini1960, Venice, XXX Biennale Internazionale d’arte1962, Venice, XXXI Biennale internazionale d’arte Andrea Palladio Prize 1962 for industrial designOcchi1960, Milan, XII Milan Triennale

Murrine opache1962, Venice, XXXI Biennale Internazionale d’arte

Table Service1960, Milan, XII Milan Triennale1960, Venice, XXX Biennale Internazionale d’arte

Reference bibliography

BattutiDomus, 371, October 1960, p. 16Domus, 373, December 1960, pp. 32–33Domus, 396, November 1962, p. 52Die Schaulade, 8, 1964, pp. 1053Warnecke 1965, p. 73

Occhi Domus, 371, October 1960, p. 16Domus, 384, November 1961, p. 56Warnecke 1965, p. 75

Murrine opacheDomus, 404, July, p. 42

CinesiDie Schaulade, 8, 1964, p. 1053

Table Service30. Biennale internazionale d’arte 1960, no. 186Domus, 373, December 1960, p. 32Istituto Veneto per il Lavoro 1960Domus, 375, February 1961, p. 56

484 485

486 487

488 489

490 491

492 493

494 495

496 497

498 499

500 501

8501

8505

8503

8507

> Vases and plate in wheel-engraved glass, nos. 8505, 8501 and 8507. Period photograph, 1960s

Large plate in ametista (ame-thyst) wheel-engraved glass fin-ished with the grindstone. Three similar examples, in verdognolo (greenish) glass, rose-coloured glass and ametista glass, were exhibited at the 30th Venice Biennale (1960).1959−6043.5 cm widevenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Venice, 30th Biennale

Bowl with a foot in light-blue wheel-engraved glass finished with the grindstone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−6012 cm high; 29 cm widevenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale

> Vases in wheel-engraved glass. Period photograph, c. 1960

Bowl in ametista (amethyst) wheel-engraved glass finished with the grindstone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−609 cm high; 21 cm widevenini murano ITALIA acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale

>Bowls in wheel-engraved glass. Period photograph, c. 1960

Large vase with a solid, cylin-drical foot in green wheel-en-graved glass finished with the grindstone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−6033 cm highvenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1960, Milan, 12th Triennale

> Vase, no. 8507, in wheel-en-graved glass. Period photograph, c. 1960

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> Vase, no. 8507, and bowls, no. 8502, in wheel-engraved glass. Period photograph, 1960s

Bowl in yellow wheel-engraved glass finished with the grind-stone. A similar example was exhibited in 1960 at the 12th Milan Triennale and, in the same year, at the 30th Venice Bien-nale, where a variant in trans-parent glass was presented.1959−609.5 cm high; 27 cm widevenini murano ITALIA acid stampBischofberger collection, Switzerland

Exhibitions 1960, Milan, 12th Triennale1960, Venice, 30th Biennale

> Bowls in wheel-engraved glass. Period photograph, c. 1960

Large bowl in light-blue wheel-engraved glass with ex-tended rims, finished with the grindstone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−609 cm high; 35.3 cm widePrivate collection

Exhibitions 1960, Milan, 12th Triennale

>Paolo Venini commemorative exhibition at the 12th Milan Triennale (1960). Period photograph. In the foreground, a group of wheel-engraved glass pieces

Bowl in green wheel-engraved glass finished with the grindstone. 1960−618.5 cm high; 23 cm widePrivate collection, Udine

Bowl in light-blue wheel-en-graved glass finished with the grindstone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−607 cm high; 13 cm widePrivate collection

Exhibitions 1960, Milan, 12th Triennale

> Vases and bowls in wheel-en-graved glass. Period photograph, c. 1960

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Vase with a solid, cylindrical foot, in yellow wheel-engraved glass finished with the grind-stone. A similar example was exhibited at the 12th Milan Triennale (1960).1959−6020 cm highGerardo Figliola collection, Turin Gallery, Turin

Vase with a solid, cylindrical foot, in transparent colourless wheel-engraved glass finished with the grindstone.1959−6032 cm highvenini murano ITALIA acid stampPrivate collection

Vase with a solid, cylindrical foot, in light-blue wheel-en-graved glass finished with the grindstone. This piece is part of the Battuti series designed by Tobia Scarpa and later pro-duced by the glassworks under the artistic direction of Ludovico de Santillana.1960−6128.5 cm highPrivate collection

>Vases, no. 8515, and bowl, no. 8514, in wheel-engraved glass. Period photograph, 1960s

Large vase with a flattened cross-section and solid oval foot, in light-blue wheel-en-graved glass finished with the grindstone. Two similar exam-ples, in verdognolo (greenish) glass and in yellow glass, were exhibited at the 31st Venice Bi-ennale (1962). This piece is part of the Battuti series designed by Tobia Scarpa and later pro-duced by the glassworks under the artistic direction of Ludovico de Santillana.1960–6141 cm highBischofberger collection, Switzerland

Exhibitions 1962, Venice, 31st Biennale

>Vase, no. 8515, in wheel-en-graved glass. Period photograph, 1960s

Drawing for a large bowl in talpa (mole-grey) wheel-engraved glass exhibited at the 31st Ven-ice Biennale (1962), finished with the grindstone. This piece is part of the Battuti series de-signed by Tobia Scarpa and lat-er produced by the glassworks under the artistic direction of Ludovico de Santillana.1960–6113 cm high; 52 cm wide

Exhibitions 1962, Venice, 31st Biennale

> Vases, no. 8515, and bowl, no. 8514, in wheel-engraved glass exhibited at the 31st Venice Bi-ennale (1962). Period photograph

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8512

8511

8508

8510

Large canoe in light-blue wheel-engraved glass, with an extended central part, finished with the grindstone. The model represents a variant in smaller dimensions of no. 8512 (l 79 cm).This piece is part of the Battuti series designed by Tobia Scarpa and later produced by the glassworks under the artistic direction of Ludovico de Santillana. 1960–6164.5 cm widevenini murano ITALIA acid stampBischofberger collection, Switzerland

Large canoe in rose-coloured wheel-engraved glass finished with the grindstone. This piece is part of the Battuti series de-signed by Tobia Scarpa and lat-er produced by the glassworks under the artistic direction of Ludovico de Santillana.1960−6181 cm widevenini murano ITALIA acid stampPrivate collection

Large cylindrical vase in rose-coloured wheel-engraved glass finished with the grind-stone.1959−6031 cm highPrivate collection, Treviso

Drawing for a small cylindrical vase in wheel-engraved glass finished with the grindstone.1959−6016 cm highPrivate collection, Treviso

> Interior of a Venini shop. In the fore-ground, a set of wheel-engraved glass pieces. Period photograph, 1960s

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8530

8522

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Occhi vase in opaque green glass with murrine having a white nucleus. A similar exam-ple, with murrine in two colours, was exhibited at the 12th Milan Triennale (1960).1959−6021 cm highPrivate collection

Exhibitions 1960, Milan, 12th Triennale

> Occhi vases exhibit-ed at the 12th Milan Triennale (1960). Period photograph

Occhi vase in lattimo glass with murrine having a white nucleus and with ametista (amethyst) and pagliesco (straw-coloured) murrine also with a white nu-cleus. A similar example, with murrine in two colours, was exhibited at the 12th Milan Tri-ennale (1960).1959−6013 cm highvenini murano ITALIA acid stamp; Caliari old labelPrivate collection

Exhibitions 1960, Milan, 12th Triennale

Occhi bottle, with a quadran-gular cross-section, in lattimo glass with murrine having a white nucleus and with dark ametista (amethyst) murrine also with a white nucleus. A similar example, with murrine in two colours, was exhibited at the 12th Milan Triennale (1960).1959−6019 cm highvenini murano acid stamp; Venini old labelPrivate collection

> Occhi vases, nos. 8524, 8526 and 8525. Period photograph, 1960s

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8527

8523

85218529

8528

Occhi vase in glass having opaque green murrine with a white nucleus. Slight narrowing in the neck.1959−6027 cm highvenini murano ITALY acid stampPrivate collection

Small Occhi vase with a bulb-shaped body in glass having lattimo murrine with a white nu-cleus and opaque green murrine also with a white nucleus.1959−6012 cm highVenini old labelCollection Patrick Despature, Switzerland

Exhibitions 1960, Milan, 12th Triennale

Small spherical Occhi vase in glass having talpa (mole-grey) murrine with a white nucleus.1959−6016 cm highvenini italia acid stampPrivate collection

Exhibitions 1960, Milan, 12th Triennale

> Set of Occhi vases. Period photograph, 1960s

Occhi vase, with a quadrangular cross-section in glass with lat-timo murrine having a white nu-cleus and opaque green murrine also with a white nucleus.1959−6015 cm highVenini old labelBischofberger collection, Switzerland

Occhi vase, with a hexagonal profile, in glass having lattimo murrine with a white nucleus and dark ametista (amethyst) murrine also with a white nu-cleus.1959−6022 cm highVenini old labelBischofberger collection, Switzerland

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8520

8526

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Small spherical Occhi vase in glass with red murrine with a white nucleus and dark ametista (amethyst) murrine also with a white nucleus.1959−6010 cm highVenini old labelPrivate collection

> Occhi vases, nos. 8526, 8520 and 8525. Period photograph, 1960s

Occhi vase, with a quadrangular base, in glass with red murrine with a white nucleus and dark ametista (amethyst) murrine also with a white nucleus.1959−6032 cm high; 9 cm øvenini murano ITALIA acid stamp; Venini old labelBischofberger collection, Switzerland

> Occhi vases, nos. 8524 and 8526. Period photograph, 1960s

Occhi bowl in glass with lattimo murrine with a white nucleus. The model was also proposed in smaller dimensions (no. 8534, w 22 cm; 8535, w 16 cm; 8536, w 10 cm).1959−605.5 cm high; 16 cm øPrivate collection

> Vase, no. 8530, and bowl, no. 8533, of the Occhi series. Period photograph, 1960s

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8532

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Small Occhi vase in glass with transparent light-blue murrine with a white nucleus.1959−6013 cm highPrivate collection

Small Occhi vase in glass with transparent yellow murrine with a white nucleus.1959−6013 cm highPrivate collection

Occhi vase with an oval cross-section in glass with red murrine having a white nucleus and dark ametista (amethyst) murrine also with a white nucleus.1959−6016 cm highVenini old labelBischofberger collection, Switzerland

> Occhi vase, no. 8524. Period photograph, 1960s

> Master glassmaker Arturo Biasutto, known as ‘Boboli’, working on an Occhi vase. Period photograph, 1960s

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8552 8553

8555

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Vase in opaque indigo glass with shapes inspired by oriental vessels.1960−6125 cm highvenini murano ITALIA acid stampPrivate collection

Drawing for a vase to be pro-duced in in opaque glass with shapes inspired by oriental vessels.1960−6125 cm high

Vase with lid in opaque black glass, with shapes inspired by oriental vessels.1960−6125 cm highvenini murano ITALIA acid stampThe Olnick Spanu Collection, New York

> Vases in opaque glass called ‘opaconi’, nos. 8552, 8551 and 8556. Period photograph, 1960s

Vase in anthracite-black opaque glass, with shapes inspired by oriental vessels.1960−6125 cm highVenini old labelPrivate collection

Vase with a lid in verd antique glass with shapes inspired by oriental vessels.196−6132.5 cm highacid stamp venini murano MADE IN ITALYPrivate collection

Small vase in opaque ochre-yel-low glass with shapes inspired by oriental vessels.1960−6112 cm highPrivate collection

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4876

4875

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993

Small bowl in the shape of a ca-noe in glass with indigo opaque murrine with anthracite-grey dots. Four similar examples were exhibited at the 31st Ven-ice Biennale (1962): one in green antique with anthracite-grey dots; one in anthracite-grey with indigo dots; one in anthra-cite-grey with green antique dots and one in indigo with an-thracite-grey dots.1961−6220 cm widePrivate collection

Exhibitions 1962, Venice, 31st Biennale

> Bowls, no. 4876, exhibited at the 31st Venice Biennale (1962). Period photograph, detail

Plate in glass with opaque indigo murrine with anthra-cite-grey dots, finished with the grindstone. A similar example in glass with T-murrine, verd an-tique glass with anthracite-grey dots, was exhibited at the 31st Venice Biennale (1962).1961−6232.5 cm wide; 26.5 cm øChiara and Francesco Carraro Foundation, Venice

Exhibitions 1962, Venice, 31st Biennale

>Glass pieces with murrine. Period photograph, 1960s

Plate in glass with white and red, red and red black, red and white, red and acquamare murrine.1959−6025 cm øPrivate collection

> Plate with polychrome murrine. Period photograph, c. 1960

Drinking glasses in transparent glass belonging to a table ser-vice, no. 992, exhibited at the 22nd Milan Triennale. The ser-vice was proposed in different colours with delicate hues.1959−6010 cm; 15 cm highPrivate collection

Exhibitions 1960, Milan, 12th Triennale1960, Venice, 30th Biennale

> Table service, no. 992. Period photograph, c. 1960

>Table service, no 992. Period photograph, c. 1960, in Artigianato veneto artistico, Venice 1960

Table service, no. 993, in trans-parent glass, documented by a period photograph.1959−6027 cm: 12 cm high

Exhibitions 1960, Venice, 30th Biennale

> Drinking glasses and carafe of a table service, no 993. Period photograph, c. 1960

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GRETE KORSMO Grete Korsmo (1917–2010), as the Norwegian de-signer Grete Prytz signed herself using the name of her first husband, was known for her pieces and jewels in enamel and silver, which she exhibited at the Milan Triennale in 1954 and in 1957, winning the grand prix and then the gold medal for her enamelled silver pieces. In 1957 in her capacity as a freelance journalist, she wrote a review for the Norwegian periodical Nordenfjeldske Kunstindustri-museum Årbok of, among other things, the contribution of the Venini firm to the Milan event. On these occasions she came into contact with Paolo Venini, with whom she started a collaboration project to produce jewels in Murano glass and silver (necklaces and ear-rings). The pendants and the various elements of the jewels would be executed in the glassworks and assembled and mounted at the important Norwegian goldsmith firm, J. Tostrup. They would then be mar-keted through the international agencies of Venini. Grete Korsmo came several times to Murano where she was fascinated by the colours and techniques in use in the furnace and, having the help of two master glassmakers available to her, studied ways of applying such techniques in the definition of each element (Bonytt 1959). The results were seen in 1958 in Paris at the exhibition Formes Scandinaves. These were the first experiments, truly unique pieces, character-ised by elements in filigrana or in glass with murrine a puntini, curved in form with a mounting in silver or gold, which were repeated along the circumference of the piece. In this way they were visible also on the nape and sides of the neck, given the low necklines that were then in fashion. Research very soon became oriented towards more ‘economic’ objects suitable for mass production, com-posed of a succession of little pendants of various forms, united by a thin chain made of silver or joined together by ties, also of silver. To produce them, the artist re-interpreted the technique of the murrina, favouring cane sections cut oblique-ly so as to have greater plays of colour. The series was ready for exhibition in the summer of 1959 but the death of Paolo Venini, occurring in July of the same year, stopped the project, which nevertheless was illustrated in Domus in October 1959.

JEWELLERY 1958–59

Exhibitions

1958, Paris, Formes Scandinaves

Reference bibliography

Clayhill 1959, pp. 124–125Domus, 359, October, p. 35Zahle 1961, p. 246Skjerven 2012, pp. 190–196, 282–283

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‘Murano e Oslo’ in Domus, 359, October 1959, p. 35. The article, which documents the collaboration between Paolo Venini and Grete Korsmo, was published side by side with the page announcing the death of Paolo Venini. In the short text, Gio Ponti had pointed it out as ‘a delicate but not for that any less significant witness of Venini’s temperament’.

> Necklace in silver and glass in Bonytt, 6, 1959, p. 124

>Pendants in coloured glass in Bonytt’, 6, 1959, p. 125G

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Necklace in silver with pen-dants and elements in lattimo and white, lattimo and talpa (mole-grey), lattimo and orange ‘a puntini’ (‘dotted’) murrine. A unique piece.A similar necklace with pen-dants and elements in reticello (net-filigree) glass was shown at the exhibition Formes Scan-dinaves held at the Musée des arts décoratifs of Paris in 1958.c. 1958cm 47 in lengthThe National Museum of Art, Architecture and Design, Oslo

> Necklace in silver with pendants in coloured glass in Bonytt, 6, 1959, p. 125

Necklace in silver and glass with 14 pendants in black and red glass. The piece is part of a series of necklaces designed for ‘serial’ production.1958−5944.5 cm in lengthThe National Museum of Art, Architecture and Design, Oslo

Necklace in silver with elements in tessuto glass with fine zaffiro (sapphire) and white canes and pendants in ametista (amethyst) and zaffiro (sapphire) glass and in white glass. Signed ‘venini murano 925 S’. The item is part of a series of necklaces designed as unique pieces.c. 195847 cm in lengthGalleria Utopiaretromodern collection, Oslo

Necklace in silver and glass having 12 elements with two holes in transparent glass with red, lattimo and black decora-tions, linked together by silver rings. The piece is part of a se-ries of necklaces designed for ‘serial’ production.1958−5937 cm in lengthGalleria Utopiaretromodern collection, Oslo

>Details of necklaces in silver and glass in Bonytt, 6, 1959, p. 124

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1932Venice, XVIII Biennale Internazionale d’Arte

1933Rome, Castel Sant’Angelo, Mostra dell’Arte del Vetro (Exhibition of artistic glass)Rome, Arte decorativa navaleMilan, V Triennale di MilanoStuttgart, Vetri veneziani e porcellane tedesche (Venetian glass and German porcelain)

1934Venice, XIX Biennale Internazionale d’ArteFlorence, Palazzo Vecchio, Mostra del Giardino, Tavole imbanditeRome, Monumenti Romani e Artigianato (Roman Monuments and Crafts)Bari, Fiera del Levante (Fair of the East)Turin, Mostra della modaParis, Le Salon des Artistes DécorateursZurich, Kunstgewerbemuseum, Venezianische Gläser

1935Rome, II QuadriennaleFlorence, V Fiera Nazionale dell’Artigianato (5th National Crafts Fair)Brussels, Mostra dell’Artigianato (Crafts Exhibition)Paris, mostra E.N.A.P.I (E.N.A.P.I. Exhibition)

1936Venice, XX Biennale Internazionale d’ArteMilan, VI Triennale di MilanoVenice, Mostra dell’artigianato (Crafts Exhibition)

1937Paris, Esposizione InternazionaleBerlin, Akademie der Künste, Italianische Kunst von 1800 bis zur Ge-genwart

1938Venice, XXI Biennale Internazionale d’ArteStockholm, Nordiska Kompaniet, Tyra Lundgren exhibition Stockholm, Svenskt Tenn, Glass from Venini

1939Rome, III QuadriennaleHelsinki, Artek, Venini exhibitionNew York, New York World’s FairSan Francisco, Golden Gate International Exposition

1940 Venice, XXII Biennale Internazionale d’ArteMilan, VII Triennale di MilanoNaples, I mostra Triennale delle terre d’oltremareLeipzig, Grassi MuseumStockholm, Nordiska Kompaniet and Svenskt Tenn, Venini exhibition

1941Leipzig, Fair

1942Venice, XXIII Biennale Internazionale d’Arte

1943Hamburg, Italian Art of the Future Stockholm, Nationalmuseum and Göteborg, Röhsska Konstslöjd-museet, Utställningen italienska glas och spetsar

1944Baltimore (USA), Baltimore Museum of Art, Glass Through Time

1946Milan, Palazzo dell’Arte, Cristalli e ceramiche

1947Milan, VIII Triennale di Milano

1948Venice, XXIV Biennale Internazionale d’ArteLocarno, mostra dell’Artigianato Veneto (Exhibition of Veneto Crafts)

1949Milan, “Galleria d’arte del Naviglio”, Bianconi Cairo, Les arts décoratifs vénitiens, organised by the Biennale of Venice

1950Venice, XXV Biennale Internazionale d’arteVenice, Palazzo Bembo, mostra permanente IVL (IVL permanent ex-hibition)Stockholm, Nordiska Kompaniet, Tyra Lundgren exhibitionStockholm, Nordiska Kompaniet, Venini exhibition

1950–53, USA, Italy at work, travelling exhibition, organised with the participation of the Italian Government, ECA and the Compagnia Nazionale Artigiana (New York City: The Brooklyn Museum; Chicago: Art Institute; San Francisco: M.H. De Young Memorial Museum; Port-land: Portland Art Museum; Minneapolis: Minneapolis Institute of Arts; Houston: Museum of Fine Arts; St. Louis: City Art Museum; To-ledo: Toledo Museum of Art; Buffalo: Albright Art Gallery; Pittsburgh: Carnegie Art Institute; Baltimore: Baltimore Museum of Art; Provi-dence, Rhode Island: School of Design)

1951Milan, IX Triennale di MilanoHamburg, Musem für Kunst und Gewerbe, Glas, Orrefors-Venini ex-hibition organised by A. Warnecke Frankfurt, Autumn Fair Helsinki, Artek, Venini exhibition Helsinki, Italian exhibition, with ArtekCairo, exhibition organised by the Compagnia Nazionale Artigiana The Hague, Municipal Museum, exhibitionParis, Musée des arts décoratifs, L’Art du VerreParis, Christofle shop, Venini exhibitionNew York, Alban Conway, Venini exhibition New York, Italy-In-Macy’s Stuttgart, Glas, Orrefors-Venini exhibition organised by A. Warnecke Stockholm, Nordiska Kompaniet, Venini exhibitionOslo, National Museum, exhibition organised by the Triennale of Milan

1952Milan, Saggio della qualità italiana organised by La Rinascente

VENINI EXHIBITIONS 1932–1960 Naples, Mostra di Oltremare e del lavoro italiano nel mondo Venice, XXVI Biennale Internazionale d’Arte, Mostra storica del vetro di MuranoCologne, FairFrankfurt, Spring Fair with A. WarneckeMunich, American HouseNew York, Georg Jensen, Art in Contemporary GlassNew York, MoMa, New Design TrendsSantiago, Exhibition of Italian Crafts Stockholm, Nordiska Kompaniet, Venini exhibitionToronto, Eaton Centre, Seven Seas, Venini exhibitionVienna, Italian Spring Fair

1953Venice, Palazzo Vendramin-Calergi, Mostra del vetro muranese or-ganised by the Associazione Nazionale del Vetro and by IVLHamburg (?), Venini-Orrefors exhibitionBrussels, Palais des Beaux-ArtsCopenhagen, Illums Bolighus, Venini’s glaskünst Frankfurt, Fair, Internationale Collectiveschau, with A. WarneckeHelsinki, Artek, Venini-Orrefors exhibitionLondon, Liberty, Exposition of Paolo Venini Manila, Philippines International FairOslo, Venetiansk Kunsthåndverk, organised by IVLStockholm, Liljevalchs Konsthall, Nutida Italiensk Konst, travelling exhibition organised by the Biennale of Venice (afterwards in Helsin-ki, Oslo, Copenhagen)Stockholm, Nordiska Kompaniet, Venini exhibition

1954Milan, X Triennale di Milano Venice, XXVII Biennale Internazionale d’arteAmsterdam, Metz&Co., Venini exhibitionGeneva, Les Artisans Vénitiens, organised by IVL Hanover, Fair with A. WarneckeThe Hague, Geementemuseum, Venetiaan Glas, organised by IVLNew York, MoMA, exhibition of design from 1870 to 1953 from the collection of the museum Stockholm, Nordiska Kompaniet, Venini exhibitionVienna, Spring Fair Zurich, Kunstgewerbemuseum and Düsseldorf, Kunstverein, Forme Nuove in Italia, travelling exhibition organised by the Compagnia Na-zionale Artigiana

1955Helsinki, Artek, Venini exhibitionNew York, Bonniers, Glass designed by Lin Tissot, Paolo VeniniNew York, Georg Jensen, The Designers’ Exhibition of GlassStockholm, Nordiska Kompaniet, Venini exhibition1955–56 London, The Italian Institute and Dublin, St. Anthony’s Hall, Italian Contemporary Handicrafts organised by the Compagnia Na-zionale Artigiana

1956Venice, XXVIII Biennale Internazionale d’ArteGöteborg (Sweden), Röhsska Konstslöjdmuseet, Muranos glas, or-ganised by IVLLiverpool, Walker Art Gallery – Manchester, Manchester City Art Gal-lery and Edinburgh, Royal Scottish Museum, Modern Italian Design,

organised by the Compagnia Nazionale Artigiana Paris, Musée des arts décoratifs, Verres Murano 1956, organised by IVLZurich, Kunstgewerbemuseum, Glas aus vier Jahrtausenden Zurich, Soland, Venini exhibitionTokyo, Takashimaya, Italian exhibition

1956–58, USA and Canada, European Glass Design, travelling exhi-bition organised by G. Jensen (Ottawa National Gallery, Athens (USA, GA), University of Georgia, Chattanooga (USA, TN), Hunter Gallery, Worcester (USA, MA), Worcester Art Museum, Toronto, Royal Ontario Museum, Toledo (USA, OH), Toledo Museum of Art, San Diego Fine Arts Gallery)

1957Milan, XI Triennale di Milano Hamburg, Venini Orrefors exhibition (c/o Warnecke?)Baden-Baden, Staatliche kunsthaus, Venini. Gläser aus Murano Cologne, FairDüsseldorf, Venini Orrefors exhibitionFrankfurt, FairFrankfurt, Museum für Kunsthandwerk, Gläser von Venini-Murano und Orrefors-Schweden Hanover, Kestner Museum, Venini Murano, Orrefors Schweden: Glas, organised by A. WarneckeKarlsruhe, Landesgewerbeamt, Venini exhibitionLinz, Neue Galerie der Stadt Linz, Venini-Murano und Orre-fors-Schweden Vienna, Österreichisches Museum für angewandte Kunst, Venini Murano Glas

1958Venice, XXIX Biennale Internazionale d’ArteBrussels, International ExhibitionLiège, Musée Curtius, Aspects de la verrerie contemporaine Stockholm, Nordiska Kompaniet, Venini exhibitionVienna, Österreichisches Museum für angewandte Kunst, Venedig zeigt Glas aus Murano 1958–59, Germany (Kassel, Cologne, Düsseldorf, Dortmund, Tübin-gen), Ausstellung der dekorativen Kunst in Venetien, travelling exhi-bition organised by IVL1958 (?), New York, Bonnier

1959Corning (USA, NY), The Corning Museum of Glass, Glass 1959: A Spe-cial Exhibition of International Contemporary Glass Helsinki, Artek, Venini exhibitionMunich, Die Neue Sammlung, Glas. Gebrauchs- und Zierformen aus vier Jahrtausenden New York, MoMa, Twentieth-century DesignParis, Salon des Artistes Décorateurs

1960Milan, XII Triennale di Milano, Paolo Venini commemorative exhibi-tionVenice, XXX Biennale Internazionale d’ArteVerona, Palazzo della Gran Guardia, Vetri di Murano 1860–1960Stockholm, Nordiska Kompaniet, Paolo Venini commemorative exhibition

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BIBLIOGRAPHY

1919G. Paulsson, Vackrare vardagsvara, Stockholm

1923‘I vetri soffiati muranesi di Cappellin e Venini’, in Arte pura e decora-tiva, 5, p. 14

1925U. Ojetti, ‘All’esposizione di Parigi’, in Corriere della Sera, 4 November

1926L’Italia alla Esposizione Internazionale di Arti Decorative e Industriali Moderne. Paris 1925, Rome

1927Catalogo ufficiale della III Mostra Internazionale delle Arti Decorative, Milan

1928‘Filigrane di Murano: un’arte che riappare in forme nuove’, in Domus, 1, January, p. 29G. P. [Ponti], ‘La casa all’italiana’, in Domus, 1, January p. 7[G. Ponti], ‘Murano fatto d’arte’, in Domus, 12, December, pp. 59–62

1929E. L. [Lancia], ‘Apparecchi moderni di illuminazione’, in Domus, 24, December, pp. 42–43

1930Catalogo ufficiale della IV Esposizione Triennale Internazionale delle Arti Decorative ed Industriali Moderne, MilanG. Ponti, ‘La vicina IV esposizione internazionale d’arte decorativa alla villa reale di Monza’, in Domus, 27, March, pp. 13–14G. Ponti, ‘Il fattore italianità nelle nostre arti applicate’, in Domus, 35, November, pp. 33–34‘Richard Ginori’, advertising page in Domus, 36, December, p. 18

1931‘I vetri muranesi’, in Mostra di vetri ceramiche e merletti d’arte moder-na italiana, Catalogue of the Amsterdam exhibition, Venice, p. 6

1932P. Chiesa, ‘Vetri incisi a Venezia’, in Domus, 56, August, p. 478 V. Querél, ‘Modernità e sintesi nel vetro di Murano’, in Rassegna della istruzione artistica, July, pp. 206–210

1933‘I vetri d’arte italiani alla Triennale’, in Domus, July, pp. 379–381R. Pacini, ‘Arredamento e arte decorativa alla Triennale’, in Architettu-ra, special number dedicated to the V Triennale di Milano, p. 90V Triennale di Milano. Catalogo ufficiale, Milan‘Venini’, advertising insertion, in Domus, 61, January, p. IV

193419. Esposizione Biennale Internazionale d’Arte, 1934. Catalogo, Venice

‘I tipi nei vetri d’arte’, in Domus, 83, November, pp. 18–26T. Lundgren, ‘Den italienska konstindustrien i samband med Trien-nalen i Milano’, in Form, 1, pp. 25–31R. Papini, ‘Vetri di Paolo Venini’, in Le Tre Venezie, May, p. 55‘Un nuovo negozio in Milano’, in Domus, 75, March, pp. 23–25‘Venini’, advertising insertion, in Domus, 84, December, p. 71

1935G. Ponti, ‘Ceramiche moderne italiane al “Jeu de Paume”’, in Domus, 90, June, pp. 12–18

193620. Esposizione Biennale Internazionale d’Arte, 1936. Catalogo, Ven-iceGuida alla VI Triennale, Milan, p. 142G. Lorenzetti, ‘Murano e l’arte del vetro soffiato. II. Dal seicento ai gior-ni nostri’, in Emporium, 504, pp. 309–320T. Lundgren, ‘Italiensk utställningskrönika. Triennalen och Bien-nalen’, in Konstrevy, 5R. Papini, ‘Le arti a Milano nel 1936. XIV’, in Emporium, 500, pp. 76, 105–106G.P. [Ponti], ‘Considerazioni sui vetri Venini’, in Domus, 103, July, pp. 28–33G. Ponti, ‘La battaglia di Parigi’, in Domus, 106, October, pp. 1–25‘Una nuova invenzione vetraria muranese. Il cristallo diamante’, in Domus, 98, February, pp. 22–23‘Venini Murano. Vetri Diamante’, in Le Tre Venezie, March–April

1937C.A. Felice, Arti industriali d’oggi, Milan, pp. 28–30T. Lundgren, ‘Den internationella triennalen i Milano 1936’, in Form, 2, pp. 25–30

193821. Biennale internazionale d’arte, 1938. Catalogo, VeniceI. Hald, ‘Italienskt glas’, in Form, 8, pp. 184–187‘Lampade’, in Domus, 124, April, pp. 46–47‘Lundgren’, in Domus, 129, September, pp. 44–45‘Regali per una coppia giovane’, in Domus, 132, December, pp. 32–33‘Vetri di Venini’, in Le Tre Venezie, June, pp. 246–247

1939‘Come le foglie’, in Domus, 144, December, pp. 58–59

194022. Esposizione biennale internazionale d’arte, 1940. Catalogo, VeniceA. Stav[enow], ‘Tyra Lundgren och Paolo Venini’, in Form, 2, pp. 32–33T. Lundgren, ‘Paolo Venini i Murano’, in Form, 2, pp. 29– 31L’industria del vetro in Italia, Rome, pp. 75–77‘Tyra Lundgren a Murano’, in Domus, 145, January, pp. 32–35‘Venini’, advertising insertion in Domus, 154, October, p. 12

1941T. Lundgren, ‘Mina venetianska glasblåsare’, in Svenska Dagbladet, 28 December‘Vetrina di Venini’, in lo Stile, 5–6, May–June, pp. 60–61

1943T. Lundgren, ‘Det moderna italienska glaset - om utställningarna i Röhsska och Nationalmuseum’, in Form, 6, pp.108–110T. Lundgren, ‘Männen bakom verket à propos den italienska ut-ställningen’, in Svenska Hem i Ord och Bilder, 6, pp. 131–135 N. Palmgren, ‘Tyra Lundgren och den elektriska ugnen’, in Svenska Hem i Ord och Bilder, 3, p. 75

1946‘Cristalli e ceramiche al Palazzo dell’Arte’, in Domus, 212, August, pp. 13–16

1947Annali della scuola friulana, Provveditorato agli Studi of Udine, I, 1947–48, p. 225‘Sezione dell’oggetto’, in Domus, 221, July, pp. 21–29T8 ottava Triennale di Milano. Catalogo-guida, Milan

194824. Biennale di Venezia. Catalogo, Venice, p. 354‘Bicchieri, bottiglie’, in Domus, 229, IV, p. 56G. Dell’Oro, ‘L’artigianato artistico alla XXIV Biennale a Venezia’, in L’Artigianato d’Italia, September, p. 1‘Gioielli e vetri d’arte’, in Domus, 229, IV, pp. 41–42‘Idee per l’estate’, in Domus, 227, II, p. 71 ‘La sottigliezza’, in Domus, 230, V, p. 29‘Oggetti illustri’, in Domus 231, VI, p. 34

1949‘Les tributaires du feu. Paolo Venini’, in L’art présent, 9, May, p. 45

1950‘Le ceramiche fantastiche’, in Domus, 252–253, November–Decem-ber, pp. 52–55‘Murano’, in Domus, 252–253, November–December, pp. 58–59G. Ponti, ‘Le mani, le pistole, i divani, le dame di Doccia’, in Domus, June, pp. 33–35G. Ponti, ‘Omaggio ad una mostra eccezionale’, in Domus, 252–253, November–December, p. 25M. R. Rogers, Italy at work: her Renaissance in design today, cata-logue of the exhibition, Rome E. Steenberg, ‘Glasdirigent med Muranoorkester’, in Form, 9/10, pp. 202–203‘Una sala da pranzo da guardare’, in Domus, 252–253, November– December, pp. 28–29

1951‘Indice’, in Domus, 262, September, p. 1‘Italian Fair Here Opened by Mayor’, in NY Times, 14 September‘Italy-in-Macy’s Fair will open Tomorrow’, in NY Herald Tribune, 9 Sep-tember‘I vetri italiani alla Triennale’, in Domus, 262, October, pp. 26–37IX Triennale di Milano. Catalogo, MilanL’ art du verre, catalogue of the exhibition, ParisA.O.W., ‘First things’, in Craft Horizons, Spring, pp. 6–7G. Veronesi, ‘La fantasia alla Triennale’, in Le vie d’Italia, 9, September, pp. 1074–1086‘Wo steht das Kunsthandwerk heute?’, in Die Schaulade, 12, pp. 300–306

195226. Biennale di Venezia. Catalogo, Venice‘Casa di “fantasia’, in Domus, 270, May, pp. 28–38Decorative art, 1951–52, pp. 55, 74–75‘Orrefors, Schweden, Venini Murano. Handwerksarbeit in Glas aus Nord und Süd’, in Die Kunst und das Schöne Heim, 8, May, p. 315Nordenfjeldske Kunstindustrimuseum Årbok, p. 114 ‘Patterns in Glass Shown in Contrast’, in NY Herald Tribune, 5 March, p. 26L.L.P. [Ponti], ‘Murano alla Biennale’, in Domus, 275, November, pp. 48–49L. Spreafico, I. Zetti (eds.), Vetri alla IX Triennale, Milan

1953‘Craftsmanship in glass’, in The Glasgow Herald, 2 MayA. Gasparetto, ‘Antico e moderno nella vetraria di Murano’, in Se-learte, 6, June, pp. 29–34Nordenfjeldske Kunstindustrimuseum Årbok, pp. 96–97, 120 Nutida Italiensk Konst, catalogue of the exhibition, Stockholm‘Regali di Natale’, in Domus, 289, December, p. 7

195427. Esposizione Biennale Internazionale d’arte, Venice, pp. 430–431Artisanat vénitien, Milan ‘Decorative glass. Venini of Murano’, in The Studio, 147, February, pp. 52–53

Forme Nuove in Italia, catalogue of the exhibition, Düsseldorf Forme Nuove in Italia, catalogue of the exhibition, Zurich‘Il salone d’onore alla Triennale’, in Domus, 300, December, p. 6Italian glass, RomeLes artisans vénitiens, brochure of the exhibition, Geneva G. Mariacher, L’arte del vetro, MilanNY Times, 3 May, p. 22G. Ponti, ‘Forme italiane a Zurigo’, in Domus, 298, September, pp. 49–54‘Italia a New York’, in Domus, 298, September, pp. 3–10Venetiaans Glas, catalogue of the exhibition, The HagueX Triennale di Milano 1954, Milan

1955R. Aloi, Esempi di decorazione moderna di tutto il mondo: Vetri d’oggi, Milan, pp. 13–24‘Calendar’ in Craft Horizons, November–December, p. 5‘Craft Countercues’, in Craft Horizons, October, p. 6Italian Contemporary Handicrafts, catalogue of the exhibition, Lon-don H. Ernst, Moderne gläser, Darmstadt ‘Piccola rassegna di Venini’, in Domus, 305, April, p. 52‘Rassegna Domus. Regali di Natale’, in Domus, 313, December, no page number Å. Stavenow, ‘Formgivng i lyxklass’, in Nordenfjeldske Kunstindustri-museum Årbok, 1954–55, pp. 49–69‘Venini’, advertising page, in Interior design, August 1955, p. 119

195628. Esposizione Biennale Internazionale d’arte, Venice, p. 558‘An American designs in Venice’, in Craft Horizons, January–February, pp. 20–21‘Arti decorative a Venezia’, in Domus, 324, November, p. 37L. Bruner, ‘European Glass Displays go on Display in Museum’, in To-ledo Blade, 3 October, p. 7Glas aus vier Jahrtausenden, catalogue of the exhibition, ZurichMuranos glas, catalogue of the exhibition, Göteborg ‘Precisazioni’, in Domus, 316, March, no page number‘Rassegna Domus. Per Natale’, in Domus, 325, December, no page number‘Rassegna Domus. Nuove lampade’, in Domus, 316, March, no page number‘Rassegna Domus. Vetri di Venini’, in Domus, 316, March, no page number‘Venini nuovi vasi’, in Domus, 325, December, p. 39‘Venini vasi. Venini lampade’, in Domus, 314, January, pp. 45–48Verres Murano 1956, catalogue of the exhibition, Venice

1957 Aspects de la Verrerie Contemporaine, catalogue of the exhibition, LiegeC. Brown, ‘A cable from the Triennale’, in Craft Horizons, November–December, pp. 10–12C. N. A., Triennale di Milano (ed.), Forme Nuove in Italia, MilanA., G. Korsmo, ‘La Boutique esthétique et tehcnique’, in Norden-fjeldske kunstindustrimuseum. Årbok, pp. 85–119‘Negozio a Novara’, in Domus, 330, May, pp. 21–23A. Pica, Storia della Triennale 1918–1957, MilanA. Pica (ed.), Undicesima Triennale, Milan B. Siepen, ‘Biennale Venedig 1956. Kunstgläser von Venini und Segu-so’, in Glas im Raum, February, pp. 6–9‘Un grande negozio di libri a Milano’, in Domus, 331, June, pp. 14–21‘Venini in Europa’, in Domus, 322, July, p. 43‘Venini’, advertising insertion, in Domus, 334, September, p. 56Venini Murano, Orrefors Schweden. Glas, catalogue of the exhibition, Hanover‘Venini, vetrate’, in Domus, 323, August, pp. 47–50‘Zierleuchten von Venini’, in Glas im Raum, January, pp. 9–11

195829. Biennale Internazionale d’arte, Venezia, p. 407Ausstellung der dekorativen Kunst in Venetien, catalogue of the exhibition, Venice Boston Herald, 16 February, p. 13G. Dell’Oro, ‘Le arti decorative alla XXIX Biennale d’arte’, in Homo Faber, 82, pp. 2–6‘Designs in Glass’, in Interior Design Magazine, December, p. 152Formes Scandinaves, catalogue of the exhibition, ParisA. Gasparetto, Il vetro a Murano dalle origini ad oggi, Venice ‘Geformtes Glas aus Vergangenheit und Gegenwart’, in Glastech-nische Berichte, December, pp. 478–480F. Martinengo, ‘La sede di una cartiera a Torino’, in Edilizia Moderna, 65, December, pp. 15–24A. Polak, ‘Venetiansk glass på ny’, in Nordenfjeldske kunstindustrim-useum. Årbok, pp. 27–52M. Schildt, ‘Paolo Venini i focus’, in Form, 10, pp. 270–273‘Schaulade” Porträt des Monats: Paolo Venini, Murano, Italien’, in Die

530 531

Schaulade, 9, p. 638R. Stennett-Willson, The Beauty of Modern Glass, London Venedig zeigt Glas aus Murano, catalogue of the exhibition, Vienna ‘Villa “la diamantina” a Caracas’, in Domus, 349, December, pp. 5–32

1959H. Clayhills, ‘Smykker for verdensmarkedet. Grete Korsmo og Paolo Venini i samarbeide’, in Bonytt, 6, 1959, pp. 124–125C. B., ‘Exhibitions’, in Craft Horizons, April, p. 42K. Elkholm, ‘Paolo Venini länk mellan syd och nord’, in Form, 7, p. 428Glas. Gebrauchs-und Zierformen aus vier Jahrtausenden, catalogue of the exhibition, MunichGlass 1959. A special exhibition of international contemporary glass, catalogue of the exhibition, New York‘In memoriam’, in Die Schaulade, August, p. 800‘Murano e Oslo’, in Domus, 359, October, p. 35G. Ponti, ‘La scomparsa di Venini’, in Domus, 359, October, p. 34G. Ponti, ‘Venini’, in Domus, 361, December, pp. 31–46 with plate‘Scomparsa di Venini’, in La Biennale, 36–37, July December, p. 94D. Smith, ‘Glass Critics’ Choice’, in Craft Horizon, September–October pp. 36–42‘Un appartamento a Milano’, in Domus, 355, June, pp. 35–38‘Un arredamento a Milano’, in Domus, 355, June, pp. 15–23‘Venini Murano’, advertising insertion, in Domus, 359, October, p. 56

196030. Biennale Internazionale d’arte, VeneziaDodicesima Triennale di Milano, MilanA. Gasparetto, ‘Ricordo di Venini’, in Ateneo Veneto, vol. 144, no. 1, pp. 71–74A. Gasparetto, Vetri di Murano 1860–1960, catalogue of the exhibi-tion, VeronaIstituto Veneto per il Lavoro, Artigianato artistico veneto, Venice ‘La mostra commemorativa di Paolo Venini’, in Domus, 371, October, p. 16P. C. Santini (ed.), XII Triennale di Milano. Catalogo, Milan‘Triennale, nella sezione italiana’, in Domus, 373, December, pp. 32–33‘Venini’, advertising insertion, in Domus, 373, December, p. 57

1961‘Countercues’, in Craft Horizons, 21, April, p. 8‘Una villa “fiorentina”’, in Domus, 375, February, pp. 1–40‘Venini’, advertising insertion, in Domus, 375, February, p. 56‘Venini’, advertising insertion, in Domus, 377, April, p. 56‘Venini’, advertising insertion, in Domus, 384, November, p. 56

196231. Biennale Internazionale d’arte, Venezia‘Al “premio Palladio” di Vicenza’, in Domus, 396, November, p. 52‘Per un negozio a Napoli’, in Domus, 389, April, pp. 42–43A. Polak, Modern Glass, London

1963Mostra del vetro di Murano, catalogue of the exhibition, Venice‘Venini 1963: vetro e argento’, in Domus, 404, July, pp. 39–41

1964R. Aloi, L’arredamento moderno - VII serieCatalogo della XXXII Esposizione Biennale Internazionale d’Arte Vene-zia, Venice‘Venini heute’, in Die Schaulade, 8, pp. 1052–1054

1965‘A Teheran una villa’, in Domus, 422, January, pp. 14–19.A. Warnecke, Kultur in Glas und Porzellan, Hamburg

1967G. Mariacher, Vetri di Murano, Milan-Rome

1977R. Barovier Mentasti (ed.), Vetri di Murano del ‘900, catalogue of the exhibition, Venice

1978T. Lundgren, Ett liv i konst, Stockholm

1981Vetri Murano oggi, catalogue of the exhibition, Milan

1982 R. Barovier Mentasti, Il vetro veneziano, MilanMille Anni di Arte del Vetro a Venezia, catalogue of the exhibition, Venice

1983M. Uggla, Tyra Lundgren. En översikt över hennes konstnärliga verk-

samhet samt en studie i hennes glaskonst, Stockholms universitet, Konstvetenskapliga inst.

1984Venini and the Murano Renaissance, catalogue of the exhibition, New York

1987W. Neuwirth, Italienisches Glas 1950–1960, catalogue of the exhibition, ViennaL. Zecchin, Vetro e vetrai di Murano, vol I, Venice, pp. 212–213

1988La verrerie européenne des Anneés ’50, catalogue of the exhibition, Marseilles, pp. 117, 122–123U. La Pietra (ed.), Gio Ponti. L’arte si innamora dell’industria, Milan

1989 F. Deboni, I vetri Venini, TurinG. Duplani Tucci (ed.), Venini 1921, MilanThe Venetians. Modern glass 1919–1990, New York L. Zecchin, Vetro e vetrai di Murano, vol. II, Venice

1990G. Sarpellon, Miniature di Vetro. Murrine 1838–1924, VeniceVignelli Associates, Design: Vignelli, New York

1991M. Cocchi (ed.), Vetri di Murano del ‘900, 50 capolavori, catalogue of the exhibition, Milan, nos. 43, 46U. Franzoi (ed.), I vetri di Archimede Seguso, Venice

1992R. Barovier Mentasti, Vetro veneziano 1890–1990, VeniceL’arte del vetro: silice e fuoco; vetri del XIX e XX secolo, catalogue of the exhibition, Venice

1993M. Heiremans, Art Glass from Murano 1910–1970, Stuttgart

1994M. Barovier, Murano. Fantasie di vetro, catalogue of the exhibitionR. Barovier Mentasti (ed.), Vetri veneziani del ‘900. La collezione della Cassa di risparmio di Venezia. Biennali 1930–1970, Venice

1995M. Barovier, R. Barovier Mentasti, A. Dorigato, Il vetro di Murano alle Biennali 1895–1972, MilanR. Barovier Mentasti (ed.), Maestri vetrai creatori di Murano del ‘900, MilanE. Di Martino, R. Licata, Riccardo Licata. Il segno, il colore, Biella

1996M. Barovier, A. Dorigato (eds.), Il bestiario di Murano. Sculture in Vetro dal 1928 al 1965, Venice, nos. 55–61R. Barovier Mentasti, Fermenti spaziali a Murano, in L. M. Barbe-ro (ed.), Spazialismo. Arte astratta. Venezia 1950–1960, Venice, pp. 122–133, 228–232A. Bettagno (ed.), Gli artisti di Venini: per una storia del vetro d’arte veneziano, MilanF. Deboni, Murano ‘900. Vetri e vetrai, Milano, pp. 68–75, nos. 189, 202, 208, 219–226M. Heiremans, 20th century Murano glass, StuttgartR. Masiero, Afra e Tobia Scarpa: architetture, Milan

1997M. Barovier (ed.), Carlo Scarpa. I vetri di un architetto, Milan E. Ricke, E. Schmitt, Italian Glass. Murano Milan 1930–1970. The Col-lection of the Steinberg Foundation, Munich-New York

1998Tra creatività e progettazione: Il vetro italiano a Milano 1906–1968, catalogue of the exhibition, MilanVenini Venezia, catalogue of the exhibition, Riihimäki

1999 M. Barovier, Il vetro a Venezia dal moderno al contemporaneo, Milan M. Heiremans, Dino Martens. Muranese Glass Designer, StuttgartV. Terraroli, ‘Architettura, scultura e arti decorative’, in R. Bossaglia, V. Terraroli (eds.), Milano Déco. La fisionomia della città negli anni Venti, catalogue of the exhibition, Milan, pp. 19–79V. Terraroli, ‘Le arti decorative in “Domus” 1928’, in V. Terraroli (ed.), Le arti decorative in Lombardia nell’età moderna 1780–1940, Milan, pp. 345–369

2000M. Romanelli (ed.), Il vetro progettato: architetti e designer a confron-

to con il vetro quotidiano, Milan, pp.159–160, 162, 187, 209–210V. Terraroli, ‘Appunti sul dibattito del ruolo delle arti decorative negli anni Venti in Italia: da Ojetti a Papini, da Conti a D’Annunzio, da Sar-fatti a Ponti’, in V. Terraroli, F. Varallo, L. De Fanti (eds.), L’Arte nella storia. Contributi di critica e storia dell’arte per Gianni Carlo Sciolla, Milan, pp. 131–140Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection, Mi-lan-New York nos. 77–79, 91, 97–104, 135–138A. Venini Diaz de Santillana (ed.), Venini: Catalogo ragionato 1921–1986, Milan

2001Murano. Vetri dalla collezione Olnick Spanu, Milan, nos. 114–115, 131, 134–141, 170–173

2002A. Dorigato, L’arte del vetro a Murano, VeniceFormdesign - Farbdesign: finnisches und italienisches Glas der Sam-mlung Losch, Düsseldorf, pp. 103–105H. Hedqvist, ’NK - en hundraåring som tappat sitt ursprung’, in Svenska Dagbladet, 13 JanuaryM. Heiremans, Murano glass. Themes and Variations (1910–1970), Stuttgart, nos. 14–17, 21–25, 38, 58, 64, 75–76, 96, 114–116H. Lockwood, ‘The Path of Paolo Venini and Tyra Lundgren’ in Form-design - Farbdesign: finnisches und italienisches Glas der Sammlung Losch, Düsseldorf, pp. 61–71M. Romanelli (ed.), Gio Ponti: a world, catalogue of the exhibition, Mi-lan

2003 A.Commellato, M. Melotti (eds.), Fausto Melotti. L’opera in ceramica, catalogue of the exhibition, MilanLe età del vetro. Storia e tecnica del vetro dal mondo antico ad oggi, catalogue of the exhibition, Geneva-MilanMurano. Glass from the Olnick Spanu Collection, New York, nos. 114–115, 131, 134–141, 170–173

2004M. Barovier (ed.), Venetian Art Glass: An American Collection 1840–1970, Stuttgart, nos. 164–165, 170–174

2006M. Rigon, L’Istituto Veneto per il Lavoro e la cultura del progetto a Venezia negli anni cinquanta, degree thesis, IUAV, Faculty of Design and Arts, 2005–2006

2007F. Deboni, Vetri Venini, 2 vols., Turin V. Terraroli, Ceramica italiana d’artista 1900–1950, Milan

2009R. Barovier Mentasti, G. Granzotto (eds.), Riccardo Licata. Mosaici e vetri, Roma, catalogue of the exhibitionM. Beraldo (ed.), Riccardo Licata: una vita d’artista, Milan

R. Masiero, M. Maguolo (eds.), Afra e Tobia Scarpa architetti 1959–1999; Tobia Scarpa architetto 2000–2009, Milan

2010A.Bova (ed.), L’avventura del vetro, dal rinascimento al Novecento tra Venezia e mondi lontani, Milan, p. 486

2011M. Bogren, Tyra Lundgren. Keramiker, Målare, Resenär, Stockholm

2012M. Barovier (ed.), Carlo Scarpa Venini 1932–47, MilanR. Barovier Mentasti (ed.), Vetro veneziano contemporaneo. La col-lezione della Fondazione di Venezia, VeniceGrete Prytz Kittelsen: the art of enamel design, New York-LondonA. Skjerven, ‘The jewelry artist’, in Grete Prytz Kittelsen: the art of enamel design, New York-London, pp. 190–196C. Sonego, Il progetto del vetro a Murano tra le due guerre, PhD thesis, Scuola di Dottorato IUAV Venezia, Venice

2013M. Barovier, Vetri anni quaranta e cinquanta. L’esperienza muranese, MilanM. Barovier (ed.), Napoleone Martinuzzi Venini 1925–1931, MilanR. Barovier Mentasti (ed.), Vetri dal Museo Salviati. Magiche traspar-enze della donazione Tedeschi, MilanF. Bertoni, Gio Ponti. “Idee” d’arte e di architettura a Imola e in Romag-na, catalogue of the exhibition, ImolaFragile. Murano, chefs-d’œuvre de verre de la Renaissance au XXIe siècle, ParisM. F. Giubilei, V. Terraroli (eds.), La forza della modernità. Arti in Italia 1920–1950, Lucca M. Martignoni, ‘A BBPR masterpiece of elegance’, in Casa Vogue, 39, April, pp. 106–112

2014M. Barovier with C. Sonego (eds.), Tomaso Buzzi alla Venini, MilanS. Cretella, ‘Giovanni Gariboldi’, in V. Terraroli and S. Cretella (eds.), Ceramiche italiane d’arte tra Liberty e Informale. La fragile bellezza, catalogue of the exhibition, Cinisello Balsamo, pp. 141–142M. Heiremans, Seguso Vetri d’Arte. Glass objects from Murano (1932–1973), Stuttgart

2015M. Barovier with C. Sonego (eds.), Fulvio Bianconi alla Venini, MilanM. T. Giovannini, ‘Le ceramiche di Doccia disegnate da Gio Ponti: uno studio iconografico’, in L. Frescobaldi Malenchini W. T. Giovannini, O. Rucellai (ed, Gio Ponti, Florence, pp. 18–25, 450–461, 490–493