Occhi Vase by Tobia Scarpa, Model Referenced under Number 8524, Venini, Italy

Beginning in the 1930s — and throughout the postwar years especially — Venini & Co. played a leading role in the revival of Italy’s high-end glass industry, pairing innovative modernist designers with the skilled artisans who created extraordinary chandeliers, sconces and other lighting in the centuries-old glass workshops on the Venetian island of Murano.

While the company’s co-founder, Paolo Venini (1895–1959), was himself a highly talented glassware designer, his true genius was to invite forward-thinking Italian and international designers to Murano’s hallowed workshops to create Venini pieces — among them Gio Ponti, Massimo Vignelli, Finnish designer Tapio Wirkkala, Thomas Stearns of the United States and Fulvio Bianconi.

Paolo Venini trained and practiced as a lawyer for a time, though his family had been involved with glassmaking for generations. After initially buying a share in a Venetian glass firm — he and antiques dealer Giacomo Cappellin established Vetri Soffiati Cappellin Venini & C. in 1921 — Venini took over the company as his own in 1925, and under his direction, it produced mainly classical Baroque designs.

In 1932, Venini hired the young Carlo Scarpa— who would later distinguish himself as an architect — as his lead designer. Scarpa, working in concert with practiced glass artisans, completely modernized Venini, introducing simple, pared-down forms; bright primary colors; and bold patterns such as stripes, banding and abstract compositions that utilized cross sections of murrine (glass rods).

Paolo Venini’s best designs are thought to be his two-color Clessidre hourglasses, produced from 1957 onward, and the Fazzoletto (“handkerchief”) vase, designed with Bianconi in 1949. Bianconi’s masterworks are considered by many to be his Pezzato works — colorful vases with patterns that resemble those of a patchwork quilt.

Other noteworthy and highly collectible vintage Venini works include Ponti’s dual-tone stoppered bottles (circa 1948); rare glass sculptures from the Doge series by Stearns, the first American to design for the firm; Vignelli’s striped lanterns of the 1960s; the Occhi vases with eyelet-shaped patterns by Tobia Scarpa (son of Carlo); and, with their almost zen purity, the Bolle (“bubbles”) bottles designed by Wirkkala in 1968. 

With these works — and many others by some of the creative titans of the 20th and 21st centuries — Venini has produced one of the truly great bodies of work in modern design.

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Widely recognized as superstars of postmodern Italian design, husband-and-wife team Afra and Tobia Scarpa (1937–2011; b. 1935) collaboratively created chairs, sofas and other furniture that work equally well in both traditional and cutting-edge environments.

Afra Bianchin and Tobia Scarpa met as architecture students at the Università Iuav di Venezia. In a class led by architect and furniture designer Franco Albini, they created their first collaborative piece, the Pigreco armchair, later produced with Gavina. After graduating in 1957, Tobia Scarpa worked for Murano glass company Venini & Co. before the couple opened a studio in Afra’s hometown, Montebelluna, in 1960. (Tobia, the son of famed glass artist and architect Carlo Scarpa, was born in Venice.)

Ranging from architecture and interior design to furniture and clothing, the Scarpas’ practice from its beginnings in the mid-1950s to the 21st century has included a diverse scope of projects combining new technology with thoughtful function and sculptural yet simple forms.

For Afra and Tobia, a close collaborative process was pivotal to the success of their designs. The duo was also prolific — they designed for the most influential European manufacturers, including B&B Italia, Cassina, Knoll and FLOS. With respect to the latter, Afra and Tobia were among the legendary Italian lighting maker’s earliest collaborators, and their pioneering designs for the brand included the Papillon lamp, one of the first fixtures to use halogen technology. Their most recognized designs include the Bastiano sofa (1962), the Vanessa bed (1959), the Coronado sofa (1966) and the Soriana seating collection (1970). Work on the Soriana sofa began in late 1969 for an early 1970 debut, and it feels as radical today as it did in its heyday.

Architecture was also a central part of Afra and Tobia’s practice, which spanned residential buildings and factories for Italian companies such as Benetton. Their commissions for the global fashion brand included numerous industrial projects, from textile plants to storefronts. By 1985, Afra and Tobia Scarpa’s work was celebrated in a 30-year retrospective at Center Four in Queens, New York. Looking around the 30,000-square-foot exhibition space, Afra joked to the New York Times, “Seeing all those things makes us feel very tired, and now we feel that maybe we worked too much.”

It was not too much for their legacy, as Afra and Tobia Scarpa’s work continues to inspire new generations. Scarpa designs are in collections at the Louvre, the Museum of Modern Art and the Victoria and Albert Museum. The couple was awarded the Compasso d’Oro in 1970 for the Soriana armchair.

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