contessanally: Venice: Isola di San Giorgio Maggiore – Stanze del Vetro - The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931

Stanze Del Vetro

Opening and Luncheon Party Photos

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

On the magical Isola di San Giorgio Maggiore, across from the Piazza San Marco, on a sunny September day, the opening of the Autumn exhibition at Le Stanze Del Vetro - The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931 - curated by Marino Barovier, until January 6, and a much-coveted lunch was also held on the fondamenta next to marina where the yachts are moored.

Lighthouse at the entrance to the Marina - Isola di San Giorgio Maggiore

Piazza and the Campanile di San Marco – Palazzo Ducale

https://lestanzedelvetro.org/en/category/exhibitions/

photograph by Enrico Fiorese – courtesy Le Stanze del Vetro

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

The exhibition traces the overall history of the glassworks for the first time, and focuses in particular on the period 1925-1931, when the young Carlo Scarpa joined the firm and started there his long and revolutionary glass design career. The glassworks was described as The Best over the years of its activity, on par with V.S.M. Venini and C., with which it ideally contended, achieving a production of exceptional quality, both in the glass techniques used (from transparent glass to the extraordinary opaque glass) to the actual design of the objects, distinguished by an elegant modernity.

Red Vase - Yellow-Red Bowl - c. 1930

pasta vitrea

David Landau and Marino Barovier

“M.V.M. Cappellin and C., often in advance of the times, was able to propose new series, which were the fruit of research on glass techniques and forms, producing artefacts of great technical perfection aimed at an elite market. Ancient working techniques, such as the filigrana a reticello and the decoro fenicio were also revisited…”

Marino Barovier

Filigrana – c.1927

Luca Massimo Barbero and Marie-Rose Kahane

Paolo Diaz de Santillana

Gianluigi Calderone and Laura de Santillana

Janine von Thungen, Tonci and Barbara Foscari

“Cappellin passed like a meteor through the 1920s but the traces of his whirlwind passage are deep and visible: he brought Murano glass to the United States and to all the important European exhibitions and demonstrated the importance of experimentation and the revolutionary value of excellence, contributing in a decisive way to the renewal process of the decorative arts in Italy. He sensed the creative potential of the young Carlo Scarpa: introducing him to the world of art glass, he initiated a fruitful dialogue with him, transmitted his love for glass to him and progressively led him to establish himself both as a designer of glass pieces and a planner of interiors and furnishing.”

Pasquale Gagliardi

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Trasparenti 1926- 31

photograph by Enrico Fiorese – courtesy Le Stanze del Vetro

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Glass Vases - 1928-29

decoro fenicio

Alessandro and Angelica Giannelli Viscardi and Jean Blanchaert

Marco Cappellin, Anna Cappellin, Pier Luigi Pizzi and Marco Arosio

Silvia Dainese, Massimo and Viretta Micheluzzi

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Lattimi – 1928-29

Sara Blumberg and Jim Oliveira

Sandy Benjamin and Maria Grazia Rosin

Barbara Berlingieri

Cristina Beltrami, Marco Cesera, Alessandra and Alessandro Zoppi

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Trasparenti - 1927-31

Barbara Rose and Judi Harvest

Attilio Codognato

Adele Re Rebaudengo and Roberta Rossi

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Pasta Vitrea – 1929-31

Edoardo Pandolfo

photograph by Enrico Fiorese – courtesy Le Stanze del Vetro

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

The exhibition illustrates the richness of the glass production, which always presented new series of glass pieces thanks to constant research into the glass material and form, resulting in works of exceptional quality, at times with quite new results.

Coral-red Lattimo Glass Vase -1928-29

fenicio decoration – applied gold leaf

Paola Marini, Michele Tavola and Sabina Damassa Vigna

Pierre Rosenberg

Beatrice Rosenberg and Jane da Mosto

photograph by Enrico Fiorese – courtesy Le Stanze del Vetro

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Black Glass Vases – c. 1930

applied silver leaf – finishings coral-red pasta vitrea

Antonia Miletto with Teo and Alexander Oppersdorff

Carolyn Quartermaine and Didier Mahieu

Franca Coin, Gesine Lubben and Donna Leon

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

On the occasion of the Italian Garden exhibition at Palazzo Vecchio in Florence in 1931, the M.V.M. Cappellin firm presented a centrepiece of monumental dimensions in iridized crystal glass with a base consisting of variously juxtaposed twisted canes. The composition was inspired by 18th-century centrepieces, known as ‘deseri’ (from the French dessert), which ornamented the Doges’ banqueting tables on solemn feast days. In particular, it seems to be inspired by the Italian glass centrepiece garden preserved at the Museo del Vetro of Murano

Centrotavola – 1931

Marc Heiremans and Caterina Tognon

The Purdons
James, Theo Gibson, Camilla, Eleanor, Tim and Angela Purdon

Sabrina and Giorgio Vigna

Alain Baczynsky, Giorgio Mastinu and Francoise Guichon

Costantino Simeone with Carlo
Vases -1928-29
decoro fenicio

Adalberto Cremonesi, Francesca Marzotto Caotorta and Grazia Montesi

Fabio Zonta

Luisa Menazzi Moretti and Servane Giol

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa

1925-1931

Animali - 1928-31

Like V.S.M. Venini e C. and the Vetreria Artistica Barovier, the Cappellin firm also included in its repertoire some models of animals. These artefacts, due to the contribution of Carlo Scarpa, were marked by a light and playful design and the refined quality of the material in which they were executed. Fish were a recurrent subject, proposed in differing variants of form, dimension and material. There was no lack of subjects taken from the repertoire of aquatic fauna, such as the octopus, or of an exotic kind, like the tiger. Aquarium with fish and octopuses.