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1st Edition. A FINE Hardcover with a FINE dustjacket. AS NEW. All dustjackets wrapped in Archival protection, and delivery confirmation with all our orders!

Paolo Venini was not a native Venetian, yet he still managed to work in Venice and ultimately become known as the foremost name in Venetian glass of this century.This book traces the history of the firm from its modest beginnings to its heyday in the post war years. While much archival material was lost in a disastrous fire, the works speak for themselves in 190 beautiful photographs which do full justice to their vibrant colors and luminosity. The facsimile reprint of the scarce "blue catalogue" of design shapes drawn to scale and dated is of special interest to dealers, museum curators and collectors.

One of the most important changes during the 20th century was the evolution of the decorative arts from the rank of crafts to that of art: glass, today, has duly earned its place in museums, markets and the public opinion. The extraordinary inventiveness between the end of the 1940s and throughout the 1950s, together with the enormous success enjoyed by Venini design, helped arouse international interest in Venetian glass. New techniques, impossible to imitate, risked consigning the firm's earlier production (from 1925 to the Second World War) undeservingly to the shadows while they placed Venini artworks among the highest artistic expressions of our times. The much awaited reprint of the last edition of the catalogue raisonn, has been enlarged with a section on lighting (lamps and chandeliers), a Dictionary of artists, the Red Catalogue, the Green Catalogue and the extended Blue Catalogue (doubled compared to the earlier edition). These three catalogues contain all the reproductions of Venini item

Book is in NEW condition. 9.94

320 Pp. Black Cloth. First Printing. Fine In Near Fine Dust Jacket.

Book is in NEW condition. 2.31

Paris 2009. 1 Volume/1. Comme Neuf Reliure éditeur cartonnée sous jaquette illustrée . Format in-4°( 28,8 x 25 cm )( 2140 gr )-------- 320 pages. ************* '' Ce Catalogue raisonné 1921-1986 est un grand travail de synthèse de l'immense production de la manufacture fondée par Paolo Venini en 1921 et dirigée par sa famille jusqu'en 1986, année où la verrerie est passée à d'autres mains. Anna Venini Diaz de Santillana, initiatrice de cet ouvrage, a tracé dans un catalogue raisonné d'environ 250 pièces le parcours des " Verreries Venini " à travers les artistes qui ont caractérisé les différentes productions : de Napoleone Martinuzzi à Carlo Scarpa, de Paolo Venini lui-même à Tomaso Buzzi, Fulvio Bianconi et Ludovico Diaz de Santillana. Grâce à la compétence des auteurs des essais critiques et l'exhaustivité des thèmes traités, cet ouvrage est la publication de référence sur l'extraordinaire aventure créative de la manufacture Venini, l'une des plus importantes au niveau international dans le cadre des arts appliqués. Outre la richesse de ses illustrations, son catalogue raisonné des pièces les plus significatives et sa série d'annexes (glossaire, bibliographie, expositions), cet ouvrage propose la reproduction la plus complète jusqu'à nos jours des catalogues historiques de la manufacture : outre le Catalogue vert et le Catalogue rouge, on trouvera aussi le mythique Catalogue bleu, incontournable point de référence pour les spécialistes, les collectionneurs, les marchands et les amateurs d'art. "" ***************** ref 527b ref 615

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 9.94

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 2.31

One of the most important changes during the 20th century was the evolution of the decorative arts from the rank of crafts to that of art: glass, today, has duly earned its place in museums, markets and the public opinion. The extraordinary inventiveness between the end of the 1940s and throughout the 1950s, together with the enormous success enjoyed by Venini design, helped arouse international interest in Venetian glass. New techniques, impossible to imitate, risked consigning the firm's earlier production (from 1925 to the Second World War) undeservingly to the shadows while they placed Venini artworks among the highest artistic expressions of our times. The much awaited reprint of the last edition of the catalogue raisonn, has been enlarged with a section on lighting (lamps and chandeliers), a Dictionary of artists, the Red Catalogue, the Green Catalogue and the extended Blue Catalogue (doubled compared to the earlier edition). These three catalogues contain all the reproductions of Venini item

The refined output of vases, bowls, and animals by the great graphic artist, illustrator, and designer for the long-standing Venetian glasshouse.

American artist Thomas Stearns (1936–2006) collaborated with the legendary Venini glassworks as a guest designer between 1960 and 1962. Stearns was the first American to design for Venini; he won a Fulbright Travel Grant, left Cranbrook Academy and showed up in Murano with plenty of new ideas for elegant, irregular blown-glass pieces (but absolutely no knowledge of the Italian language). Stearns’ groundbreaking designs, characterized by asymmetrical forms and bold blocks of color, won the “Best of Show” award at the 1962 Venice Biennial, but proved too difficult to put into mass production―inadvertently preserving them as precious, limited-edition art objects. The latest in Skira’s series of monographs on 20th-century glass, Thomas Stearns at Venini tells the fascinating story of Stearns’ collaboration with the venerable Italian glassworks. An essential volume for collectors, scholars and dealers, the publication catalogs all of Stearns’ production at Venini.

American artist Thomas Stearns (1936–2006) collaborated with the legendary Venini glassworks as a guest designer between 1960 and 1962. Stearns was the first American to design for Venini; he won a Fulbright Travel Grant, left Cranbrook Academy and showed up in Murano with plenty of new ideas for elegant, irregular blown-glass pieces (but absolutely no knowledge of the Italian language). Stearns’ groundbreaking designs, characterized by asymmetrical forms and bold blocks of color, won the “Best of Show” award at the 1962 Venice Biennial, but proved too difficult to put into mass production―inadvertently preserving them as precious, limited-edition art objects. The latest in Skira’s series of monographs on 20th-century glass, Thomas Stearns at Venini tells the fascinating story of Stearns’ collaboration with the venerable Italian glassworks. An essential volume for collectors, scholars and dealers, the publication catalogs all of Stearns’ production at Venini.

Unread book in perfect condition.

Title: PAOLO VENINI and his Furnace Author: Barovier, Marino ; Carla Sonego (eds) Price: Euro 120,00.- ISBN: 9788857233536 Description: Milano: Skira, 2016. 30cm., hardcover, 532pp., 1722 color illus. Exhibition held at Isola di San Giorgio Maggiore, Venezia. english text Summary: La figura di Paolo Venini (1895-1959), "padre" della celebre vetreria, è protagonista della monografia che accompagnerà la nuova mostra autunnale de Le Stanze del Vetro. Grande regista e direttore della sua azienda, colto e interessato sia ai fermenti artistici del suo tempo, sia alle esigenze del mercato internazionale, soprattutto nel corso degli anni Cinquanta, Paolo Venini interviene anche ideando egli stesso nuove serie di vetri, avvalendosi dell'ufficio tecnico della vetreria. Ripercorrendo la storia della fornace muranese, il volume metterà in luce una delle fondamentali intuizioni di Paolo Venini, che fu quella di modernizzare il catalogo aziendale attraverso nuove linee essenziali e raffinate, pur esaltando le tradizioni tecnologiche e artigianali. I saggi si focalizzeranno sulla collaborazione di nuovi interpreti, anche internazionali, di cui Paolo Venini si avvalse già dalla metà degli anni Trenta, come per esempio la ceramista svedese Tyra Lundgren nota per il suo divertente "bestiario". Saranno poi oggetto d'analisi e confronto le opere realizzate nel dopoguerra, frutto della collaborazione con l'architetto Gio Ponti; la produzione della seconda metà del XX secolo che vede la stretta collaborazione con il designer Piero Fornasetti, i pittori Riccardo Licata ed Eugène Berman. Verrà trattato il tema delle grandi esposizioni americane (e il rapporto con Ken Scott e Charles Lin Tissot) e un ulteriore contributo sarà dedicato agli architetti Massimo Vignelli e Tobia Scarpa, che parteciparono alla vita di Venini in modo continuativo. Quantity: 1 - Language : English text

A splendid catalogue devoted to the work of an artist who was responsible for some of the most original glass artworks in art history. Through around 300 works, documents, and original drawings from private collections and museums from all over the world, this important volume reconstructs the work and life of Carlo Scarpa from the very beginnings of his career when he worked as artistic director for the Venini glassworks, between 1932 and 1947. The experience acquired in those years offered Scarpa the possibility of following the experimental vocation that was to also distinguish his work as an architect, and to carry forward research intended to investigate the expressive possibilities of glass the material, to experiment with the age-old crafting techniques of the old masters of Murano and to update the traditional forms of craftsmanship in glass. It is no coincidence that Scarpa’s glasswork can be organized into no less than thirty distinct styles, differentiated by the technique of execution and the glass construction method used. We need only think of the corrosi (corroded), in which the material is attacked and eaten into by sawdust soaked in hydrofluoric acid. Under Scarpa’s artistic direction the forms created at the Venini glassworks are more sober and modern, with geometrical inspiration, and above all, the importance of the role of the designer is established in the history of 20th-century Venetian glass, which owes much of its substantial renewal to him.

A splendid catalogue devoted to the work of an artist who was responsible for some of the most original glass artworks in art history. Through around 300 works, documents, and original drawings from private collections and museums from all over the world, this important volume reconstructs the work and life of Carlo Scarpa from the very beginnings of his career when he worked as artistic director for the Venini glassworks, between 1932 and 1947. The experience acquired in those years offered Scarpa the possibility of following the experimental vocation that was to also distinguish his work as an architect, and to carry forward research intended to investigate the expressive possibilities of glass the material, to experiment with the age-old crafting techniques of the old masters of Murano and to update the traditional forms of craftsmanship in glass. It is no coincidence that Scarpa’s glasswork can be organized into no less than thirty distinct styles, differentiated by the technique of execution and the glass construction method used. We need only think of the corrosi (corroded), in which the material is attacked and eaten into by sawdust soaked in hydrofluoric acid. Under Scarpa’s artistic direction the forms created at the Venini glassworks are more sober and modern, with geometrical inspiration, and above all, the importance of the role of the designer is established in the history of 20th-century Venetian glass, which owes much of its substantial renewal to him.

As new (we removed the shrinkwrap to catalogue it). ]. 489p. Illus. Folio.

Bross., cm 30x28 pp 445, molt. tavv a colori e ill. b/n. - ISBN: 885722418X

448 p., f.to cm 30,5x28,5, copertina rigida con sovraccoperta, numerose illustrazioni a colori. COME NUOVO. Vivace protagonista del 'neoclassicismo' milanese, amico e collaboratore di Gio Ponti, e socio de Il Labirinto - insieme, tra gli altri, allo stesso Ponti e a Paolo Venini - Tomaso Buzzi tra il 1932 e il 1933 instaura una fruttuosa collaborazione con la vetreria muranese, alla quale si rivolge episodicamente anche negli anni successivi. Il volume ricostruisce l'intera opera vetraria dell'architetto, che risultava fino ad oggi piuttosto lacunosa e di cui erano noti solo alcuni esemplari. Grazie ad un'accurata ricerca documentaria, si è messo in luce il contesto nel quale egli si è trovato ad operare ed è stato evidenziato il suo originale apporto creativo tanto nelle forme dei modelli quanto nella loro significativa tecnica di realizzazione. Egli infatti propose oggetti spesso ispirati all'arte antica e ideò un tipo di vetro opaco a più strati di colore, rifinito da foglia d'oro, che a seconda della tonalità diede vita ai vetri laguna, alba, alga e tramonto. Il catalogo presenta una rassegna di oltre trecento modelli che spazia dai vasi agli apparecchi per l'illuminazione prodotti dalla vetreria, ma comprende anche i progetti di Buzzi eseguiti per specifiche committenze e le proposte non realizzate