Carlo Scarpa, Small Dining Table Model “Quatour”, Walnut, Italy 1974
About the Item
- Creator:Carlo Scarpa (Designer)
- Dimensions:Height: 28.35 in (72 cm)Width: 55.52 in (141 cm)Depth: 55.52 in (141 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1974
- Condition:
- Seller Location:Barcelona, ES
- Reference Number:1stDibs: LU2374319281112
Carlo Scarpa
Carlo Scarpa was born in Venice in 1906 and became one of the leading figures of architecture and international design during the 20th century. At merely 21 years old — and still a student at the Academy of Fine Arts — Scarpa began working as a designer for master Murano glassmaker M.V.M. Cappellin. Within a few years, he completely revolutionized the approach to art glass.
In a short time, under the guidance of Scarpa, the Capellin furnace not only established itself as the top glass company, but above all it introduced modernity and international fame to Murano glassmaking. Scarpa created a personal style of glassmaking, a new vision that irreversibly changed glass production.
The young Scarpa experimented with new models and colors: his chromatic combinations, impeccable execution and geometric shapes became his modus operandi. Thanks to Scarpa’s continuous research on vitreous matter, Cappellin produced a series of high-quality glass objects, that saw the company revisiting ancient processing techniques such as the watermark and Phoenician decoration.
When he encountered the challenge of opaque glass, Scarpa proposed introducing textures of considerable chromatic impact, such as glass pastes and glazed glass with bright colors. Scarpa also collaborated in the renovation of Palazzo da Mula in Murano, the home of Cappellin. At the academy, he obtained the diploma of professor of architectural design and obtained an honorary degree from the Venice University Institute of Architecture of which he was director.
In 1931, Scarpa's collaboration with Cappellin ended, following the bankruptcy of the company because it was not able to withstand the economic crisis linked to the Great Depression. But Scarpa did not go unnoticed by Paolo Venini — in 1933, the young designer became the new artistic director of the biggest glass company in Murano.
Master glassmakers thought Scarpa's projects and sketches were impossible, but the passionate and curious designer always managed to get exactly what he wanted. Until 1947 he remained at the helm of Venini & Co., where he created some of the best known masterpieces of modern glassmaking. Scarpa’s work with Venini was characterized by the continuous research on the subject, the use of color and techniques that he revisited in a very personal way, and the development of new ways of working with master glassmakers.
At the beginning of the 1930s, "bubble", "half filigree" and "submerged" glass appeared for the first time on the occasion of the Venice Biennale of 1934. A few years later, at the Biennale and the VI Triennale of Milan, Venini exhibited its lattimi and murrine romane pieces, which were born from a joint idea between Scarpa and Paolo Venini.
In 1938 Scarpa increased production, diversifying the vases from "objects of use" to sculptural works of art. In the same year he laid the foundation for the famous "woven" glass collection, exhibited the following year. In the subsequent years, Scarpa–Venini continued to exhibit at the Biennale and in various other shows their the "black and red lacquers," the granulari and the incisi, produced in limited series, and the "Chinese," which was inspired by Asian porcelain.
Scarpa's creations for Venini garnered an international response and were a great success, leaving forever an indelible mark on the history of glassmaking. The last Biennale in which Carlo Scarpa participated as artistic director of Venini was in 1942. He left the company five years later.
The time that Scarpa spent in the most important glass factory in Murano would attach a great artistic legacy to the company. His techniques and styles were resumed in the postwar period under the guidance of Tobia Venini, Paolo's son. In the 1950s, after the departure of Scarpa, Fulvio Bianconi was the new visionary at the Biennials with Venini.
On 1stDibs, vintage Carlo Scarpa glass and furniture are for sale, including decorative objects, tables, chandeliers and more.
(Biography provided by Ophir Gallery Inc.)
- ShippingRetrieving quote...Ships From: Barcelona, Spain
- Return PolicyA return for this item may be initiated within 2 days of delivery.
- Franco Albini Mahogany mid-centry Italian Table Model TL-22 produced by PoggiBy Franco AlbiniLocated in Barcelona, ESFranco Albini & Franca Helg. Dining table model no. TL22. Manufactured by Poggi, Italy, 1958. Mahogany. Measurements: 180.3 cm x 104.1 cm x 73 H cm. 70.98 in x 40.98 in x 28.74 in. Literature: Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 123. Franco Albini, was born in 1905 and died in 1977. He spent his childhood and part of his youth in Robbiate in Brianza, where he was born. Albini, as an adolescent moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He started his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborated for three years. At the 1929 International Exhibition in Barcelona (where Gio Ponti curated the Italian pavilion and Mies van der Rohe realized that of Germany) and in Paris where, as Franca Helg recounted, he had the opportunity to visit the studio by Le Corbusier. In those three years, the works he carried out are admittedly of the twentieth century imprint. It is the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the approach to the group of editors of "Casabella". The partly ironic and partly very harsh comments of the Neapolitan critic to a series of drawings, made by Albini for the design of some office furniture, caused him a great disturbance. “I spent days of real anguish - Albini recalls - I had to answer all the questions. I also had a fever, a large and long fever. " The meted provoked Albini to openen a professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca district in San Siro in 1932 and then building the IFACP neighborhoods: Fabio Filzi (1936/38), Gabriele D'Annunzio and Ettore Ponti (1939). During this period, Albini also worked on his first villa (Pestarini), which Giuseppe Pagano, architect and critic of the time, presented as follows: “This coherence, which the superficial rhetoric of fashionable jugglers calls intransigence, and which is instead the basis of understood between the fantasy of art and the reality of the craft, in Franco Albini, it is so rooted that it transforms theory into a moral attitude ". But it is above all in the context of the exhibitions that the Milanese master experienced his compromise between that "rigor and poetic fantasy" of which Pagano speaks, coining the elements that became a recurring theme in his . The opening in 1933 of the new Triennale headquarters in Milan, in the Palazzo dell'Arte, was an important opportunity to express the strong innovative character of rationalist thinking, a gym in which to freely experiment with new materials and new solutions, but above all a "method". "Cultivated as a communication laboratory, the art of setting up was for the rationalists of the first generation what the perspective had been for the architects of humanism: the field open to a hypothesis of space that needed profound reflections before landing the concreteness of the construction site ". Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano set up the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and with the coordination of G. Pagano), for which he also designed the 'furniture. At the following Triennale of 1936, Persico dided, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini took care of the preparations of the home exhibition. The setting up of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach of Albini, as a man and as a designer: "Celebrating the beauty of mechanics was the imperative to which, for example, the surprising displays by Franco Albini who managed, in the subtle way of a refined and rarefied style, to sublimate their practical content in the metaphysics of daring still lifes: flying objects which marked in the void refined frames and metal intricacies the nodes of a fantastic cartography where industry finally became art free from purpose ". That same year Albini and Romano designed the exhibition of the Ancient Italian Goldsmithery: vertical uprights, simple linear rods, designed the space. A theme, of the "flagpole", seemed to be the center of the evolution of production and the creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian design: in the preparation of the Scipione Exhibition and contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases were hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take the V-shape; in the Olivetti shop in Paris (1956) the polished mahogany uprights support the shelves for the display of typewriters and calculators. The flagpole is found, however, also in other areas. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing the spaces. The Veliero bookcase...Category
Mid-20th Century Italian Mid-Century Modern Dining Room Tables
MaterialsMahogany
- Dining table by Joaquim Tenreiro, 1950By Joaquim TenreiroLocated in Barcelona, ESImportant dining table Manufactured by Tenreiro Moveis e Decoraçoes Brazil, 1950 Solid jacaranda ebonized wood and white lacquered formica top Measurements 223 cm x 98 cm x 74h cm 8...Category
Vintage 1950s Brazilian Dining Room Tables
MaterialsFormica, Jacaranda
- Sam Chermayeff Contemporary Galvanized Steel Large Dining Table "Beasts" SeriesBy Sam ChermayeffLocated in Barcelona, ESSam Chermayeff Dining table From the series “Beasts” Produced in exclusive for SIDE GALLERY Manufactured by ERTL und ZULL Berlin, 2021 Galvanized steel, high polished steel Co...Category
21st Century and Contemporary German Dining Room Tables
MaterialsSteel, Stainless Steel
- Contemporary Dark Grey Marble Dining Table "Concept Kitchen" by Sam ChermayeffBy Sam ChermayeffLocated in Barcelona, ESSam Chermayeff Table From the series “Concept Kitchen” Produced in exclusive for SIDE GALLERY Manufactured by Bagnara Italy, 2020 Pannonia Grün marble Contemporary Design M...Category
21st Century and Contemporary German Dining Room Tables
MaterialsMarble
- Lukas Saint-Joigny, Contemporary Round Dining Table, 2020, Light Grey ResinBy Lukas Saint-JoigyLocated in Barcelona, ESLukas Saint-Joigny Round Dining Table From the “Ore” series Manufactured by Lukas Saint-Joigny Produced in exclusive for SIDE GALLERY Paris, 2020 Various materials and polyuret...Category
21st Century and Contemporary French Dining Room Tables
MaterialsResin
- Sergio Rodrigues Round Wooden Dining Table "Stella" Oca mid-century Brazil 1956By Oca, Sergio RodriguesLocated in Barcelona, ESSergio Rodrigues (1927-2014) Round dining table model “Stella” Manufactured by Oca Brazil, 1956 Jacaranda wood, brass, iron Measurements 122 cm diameter x 73 height cm 48 in diamet...Category
Mid-20th Century Brazilian Mid-Century Modern Dining Room Tables
MaterialsBrass, Iron
- Early Carlo Scarpa Quatour Table for Simon Gavina, Italy, 1974By Simon Gavina Editions, Carlo ScarpaLocated in Milan, ITEarly and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.Category
Vintage 1970s Italian Mid-Century Modern Tables
MaterialsWood, Pine
- Quatour Wooden Table by Carlo Scarpa for Gavina, Italy 1973By Carlo Scarpa, Tobia ScarpaLocated in Argelato, BOLarge Quatour table with wooden structure and veneered wooden top. Original drawing by Carlo Scarpa. Prod. Gavina, Italy, 1974 cm 165x165x72 Further information Bibliography (edite...Category
Vintage 1970s Italian Minimalist Dining Room Tables
MaterialsWood
- 1970s Italian Oval Dining Table by Carlo Scarpa, Model Samo, in Grey GraniteBy Carlo ScarpaLocated in Baambrugge, NLVintage oval dining table designed model Samo, by Carlo Scarpa and Manufactured by Simon, Italy 1970s. Light grey granite dining table with o...Category
Vintage 1970s Italian Dining Room Tables
MaterialsGranite
- Dining Room Marble Table Attributed to Carlo Scarpa, Italy 1970.By Carlo ScarpaLocated in Brussels, BESpectacular pink beige marble dining table in three parts. The top is resting on a stepped base. Attributed to Scarpa, Italy 1970.Category
Vintage 1970s Italian Mid-Century Modern Dining Room Tables
MaterialsMarble
- Carlo Scarpa 'Samo' Dining Table for Simon Gavina, Italy, 1970sBy Carlo Scarpa, Simon Gavina EditionsLocated in Hellouw, NLThis Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...Category
Vintage 1970s Italian Mid-Century Modern Dining Room Tables
MaterialsGranite
- Carlo Scarpa for Cassina - Doge Dining TableBy Carlo Scarpa, CassinaLocated in Zagreb, HRDoge table in glass and steel, designed in 1968 by one of the most influential Italian architects and designers Carlo Scarpa for the great Italian visionary Dino Gavina and his compa...Category
Vintage 1970s Italian Mid-Century Modern Dining Room Tables
MaterialsSteel, Brass