Pair of Murano Glass "Feather" Sconces by Tomaso Buzzi for Venini Italy, 1930s

Architect, urban planner, glass, furniture and landscape designer, and interior decorator — Tomaso Buzzi was a 20th-century renaissance man. Buzzi, along with his frequent collaborator Gio Ponti, led Italy’s Novecento Milanese movement of the 1920s and ‘30s — an approximate equivalent to France’s Art Deco movement. While Buzzi is prized for chairs, tables and other furnishings that modernized the majestic lines of 18th-century designs, he is best known for the remarkable, jewel-toned glassware he produced in a two-year stint as the artistic director of the Venini glassworks on the Venetian island of Murano.

Buzzi was born in 1900 in the town of Sondrio in the Lombardy region of northern Italy. He studied at the Milan Polytechnic, and soon after he graduated joined a lively Milanese decorative arts scene. In 1927, he and Ponti joined fellow designers Paolo Venini and Michele Marelli to form a design collaborative called Il Labirinto (the Labyrinth), Italy’s answer to the Wiener Werkstätte. In 1932, when Venini's glass company lost the design services of the sculptor Napoleone Martinuzzi, who left to start his own factory, he turned to Buzzi. The young architect’s careful study of lighting design and a love for experimentation yielded major innovations in Murano glass fixtures. The forms of his wares were inspired by sources from antiquity as diverse as Persian urns and animal-shaped Etruscan jugs. Buzzi developed a complex glass-layering method that produced deep, glowing pastel colors that ran from pink to peach, to sea-green and slate blue.

Buzzi furniture has a noteworthy elegance and nobility. Delicate chairs with arrow-shaped backs and elaborate burled wood armoires are typical of his aesthetic, and would add a sophisticated note to any room, modern or traditional. And an exemplary piece of Buzzi’s vibrant, lustrous glassware would merit a place of honor in every design collection.

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 in the centuries-old glass workshops on the Venetian island of Murano. While the company’s 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 Giò Ponti, Massimo Vignelli, Finnish designer Tapio Wirkkala, Thomas Stearnsof 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 took over the company as his own in 1925, and under his direction it produced mainly classical Baroque designs. In 1932, he 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 century — Venini has produced one of the truly great bodies of work in modern design.