Midcentury Carlo Scarpa Natural Walnut and Brass Italian Sideboard, Bernini 1977

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Midcentury Carlo Scarpa Natural Walnut and Brass Italian Sideboard, Bernini 1977

About the Item

Midcentury Carlo Scarpa natural walnut "Scuderia" sideboard or credenza for Bernini, Italy, 1977. Horizontal open front four doors with double cylindrical elements side by side. Bibliografy: reviews --> Ottagono 47 books --> G. Gramigna 1950/1980 Repertorio Mondadori 1985 books --> B. Albertini, S. Bagnoli Carlo Scarpa. L'architettura nel dettaglio Jaca Book 1988 books --> Carlo Scarpa designer Biblioteca dell'immagine 1984 Carlo Scarpa (born June 2, 1906, Venice, Italy–died November 28, 1978, Sendai, Japan) was an Italian designer and architect influenced by the materials, landscape, Venetian and Japanese cultures, and Modernism. He turned his knowledge and interest in history, regionalism, and craftsmanship into ingenious glass and furniture designs; and his architecture reflects a deep awareness of the steep marks of history, and a masterful attention to detail and integration of ancient crafts within a clearly modern aesthetic. When Carlo Scarpa was 2 years old, the family moved to Vicenza, Italy, where he spent most of his childhood. In 1919, when his mother died, the family moved back to Venice and Carlo enrolled in the Royal Accademia di Belle Arti di Venezia. In 1926, he was certified in Architectural Design and until 1931 he worked in the Venetian studio of architect Guido Cirilli. He started collaborating with Venini in 1932, and later became its artistic director until 1946. It was through his work with the glassblowers at Venini, that he deepened his understanding of the role that traditional crafts should have in contemporary architecture and design. Despite apprenticing with architect Francesco Rinaldo, Scarpa did not officially graduate as an architect, as he refused to take the professional exam from the Italian government after World War II. As a consequence, during his entire architectural practice he was forced to work with a licensed architect for all of his projects. Carlo Scarpa main furniture and product contributions: Through his collaboration with Venini, Carlo Scarpa designed numerous glass objects and lamps, that, to this date, routinely demand the attention of design enthusiast and museums. Although glass was the primary focus of his product design practice in the early post-war years, Scarpa also created other furnishing designs such as the 618 chair for Meritalia (1964); the Delfi terrazzo table, in collaboration with Marcel Breuer, manufactured by Simon (1969); the Samo marble table manufactured by Simon (1970); and the Kentucky chair for Bernini (1977). Carlo Scarpa important architectural contributions: Between 1935 and 1937, Scarpa worked on his first transformational architectural work, the intervention at the Ca’ Foscari in Venice, home of the homonymous university. This work, for which he had a second intervention between 1955 and 1957, but which was later tampered with, turned out to be one of the most innovative restoration projects of that period, and won him national and international recognition. From the mid-1940s until his death in 1978, Scarpa taught drawing and interior decoration at the Istituto Universitario di Architettura di Venezia. While most of his built work is located in the Veneto, he also designed landscapes, gardens, and buildings across Italy as well as in Canada, the United States, Saudi Arabia, France, and Switzerland. Carlo Scarpa (born June 2, 1906, Venice, Italy–died November 28, 1978, Sendai, Japan) was an Italian designer and architect influenced by the materials, landscape, Venetian and Japanese cultures, and Modernism. He turned his knowledge and interest in history, regionalism, and craftsmanship into ingenious glass and furniture designs; and his architecture reflects a deep awareness of the steep marks of history, and a masterful attention to detail and integration of ancient crafts within a clearly modern aesthetic. When Carlo Scarpa was 2 years old, the family moved to Vicenza, Italy, where he spent most of his childhood. In 1919, when his mother died, the family moved back to Venice and Carlo enrolled in the Royal Accademia di Belle Arti di Venezia. In 1926, he was certified in Architectural Design and until 1931 he worked in the Venetian studio of architect Guido Cirilli. He started collaborating with Venini in 1932, and later became its artistic director until 1946. It was through his work with the glassblowers at Venini, that he deepened his understanding of the role that traditional crafts should have in contemporary architecture and design. Despite apprenticing with architect Francesco Rinaldo, Scarpa did not officially graduate as an architect, as he refused to take the professional exam from the Italian government after World War II. As a consequence, during his entire architectural practice he was forced to work with a licensed architect for all of his projects. Carlo Scarpa main furniture and product contributions: Through his collaboration with Venini, Carlo Scarpa designed numerous glass objects and lamps, that, to this date, routinely demand the attention of design enthusiast and museums. Although glass was the primary focus of his product design practice in the early post-war years, Scarpa also created other furnishing designs such as the 618 chair for Meritalia (1964); the Delfi terrazzo table, in collaboration with Marcel Breuer, manufactured by Simon (1969); the Samo marble table manufactured by Simon (1970); the chair 1934/765 for Bernini (1977); the Scuderia sideboard and table for Bernini (1977). Carlo Scarpa important architectural contributions: Between 1935 and 1937, Scarpa worked on his first transformational architectural work, the intervention at the Ca’ Foscari in Venice, home of the homonymous university. This work, for which he had a second intervention between 1955 and 1957, but which was later tampered with, turned out to be one of the most innovative restoration projects of that period, and won him national and international recognition. From the mid-1940s until his death in 1978, Scarpa taught drawing and interior decoration at the Istituto Universitario di Architettura di Venezia. While most of his built work is located in the Veneto, he also designed landscapes, gardens, and buildings across Italy as well as in Canada, the United States, Saudi Arabia, France, and Switzerland.

Creator:
Bernini (Manufacturer),Carlo Scarpa (Designer)
Dimensions:
Height: 42.52 in (108 cm)Width: 73.63 in (187 cm)Depth: 23.23 in (59 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Brass,Walnut
Place of Origin:
Italy
Period:
1970-1979
Date of Manufacture:
1977
Condition:
Wear consistent with age and use.
Seller Location:
Sacile, IT
Reference Number:
1stDibs: LU2360315218882

Shop All Carlo Scarpa

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.

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