Thursday, September 20, 2018

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



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

  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.


Antonia Jannone, Alessandra Chemollo, Stefano Gris and Silvia Dainese


Giacomo Vianello, Cristina Beltrami and Roberto De Feo

 
Chiara Pini


Elizabeth Royer Grimblat, Maria Cristina Petrone, Cesare Cunaccia, Alessandra Zoppi and Gaby Wagner




Mattia Berto and Francesca Pederoda



 Rodolfo Garattoni







 




 











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