CARLO SCARPA (1906-1978)
CARLO SCARPA (1906-1978)
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CARLO SCARPA (1906-1978)


CARLO SCARPA (1906-1978)
A rare and important 'Millefiori' vase, model no. 6006, 1930-31
executed by M.V.M. Cappellin & C., Murano, hand-blown cased lattimo glass, with murrine insets and applied foot
8 in. high (20 cm.)
Galleria Marina Barovier, Venice, Italy;
Acquired from the above by the present owner, circa 2004.
M. Barovier, Carlo Scarpa, I Vetri di Murano 1927-1947, Venice, 1991, pg. 61 for an example of a vase in this technique;
R. Barovier Mentasi, Venetian Glass 1890-1990, Verona, 1992, pg. 76, fig. 66, this example illustrated;
M. Barovier, Carlo Scarpa Glass of an Architect, Milan, 1998, pp. 97 and 201, fig. 137, this example illustrated, p. 265, fig. 54, for period images of other designs in this technique; p. 293 for a drawing of other designs in this technique;
M. Barovier, C. Sonego (eds.), The M.V.M. Cappellin Glassworks and the young Carlo Scarpa 1925-1931, exh. cat., Le Stanze del Vetro, Milan, 2018, pp. 365, 377 for another example.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

Founded by Giacomo Cappellin in 1925, the Maestri Vetrai Muranesi Cappellin & C. From 1926 could count on the fertile creativity of the young architect Carlo Scarpa, recently graduated from the Academy of Fine Arts in Venice, dedicated himself to glass with great passion. He entered the glass factory as a draftsman and soon became a glass designer working with the furnace until it was closed in the early 1930s. Thanks to the passionate dedication of Giacomo Cappellin and the exuberant inventiveness of Carlo Scarpa, M.V.M. Cappellin, often anticipating the times, was able to propose a new series of glass designs, the result of their research on materials and forms, thereby creating artworks of great technical perfection that were intended for an elite audience. The furnace was able to seize the challenge of opaque glass by offering objects of extraordinary elegance and refined, essential design, often characterised by great geometric rigour. The production was distinguished by precious vitreous fabrics as seen in particular at the IV Monza Triennale in 1930 where a critic like Carlo Alberto Felice recognised that these designs “are among the most appropriate ornaments of the modern home”, in perfect stylistic agreement with contemporary furniture and furnishings“ (Dedalo., 1930-31). Domus magazine reported as well the “vibrant, shiny, compact colours” of the various models (Domus, July 1930) and noted the “sober geometric shapes and shapes inspired directly by classic models that harmonise … in an equality to fine art, with the same perfect execution and an equal value of materials. (Domus, September 1930). This is the case, for instance, with some examples of “millefiori” murrine series exhibited at Monza in the environment designed by the architect Serafini, and presented with great variety at the exhibition of ceramics, glass and lace in Amsterdam in 1931. They are objects of great rarity, such as the present lot, distinguished by the elegance of the line and the refinement of the material, a white lattimo vase decorated with delicate murrine in concentric circles, whose colours are repeated in the foot and upper rim.

Marino Barovier

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