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Massimiliano Schiavon Collection – Glass Plates

Collection of Glass Plates by Massimiliano Schiavon.
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Pauly & C. – C.V.M.

Pauly & C. – Compagnia Venezia Murano is a Venetian company that produces glass art,^[1] most notably Roman murrine, mosaics andchandeliers. The company was formed in 1919 by a merger of Pauly & C (founded 1902) and the Compagnia di Venezia e Murano (founded 1866). It has since expanded in 1932 with the acquisition of MVM Cappellin and in 1990 by the addition of the drawings and back catalogues of Toso Vetri d’Arte. The company maintains retail showrooms as well as exhibiting antiques.

History

Compagnia di Venezia e Murano

Compagnia di Venezia e Murano began as Salviati &C. in London in 1866 under the direction of Vicenza attorney Antonio Salviati and with the backing of two British men: archaeologist Austen Henry Layard and antiquarian Sir William Drake. The company was dedicated to using ancient techniques and utilized master glassblowers in its efforts to do so. It called in specialists from other fields like goldsmithing andengraving to ensure authenticity and employed artist Giuseppe Devers to teach the techniques of enamelling and heat-applied glass gilding to company artisans. Archaeologist Layard was particularly interested in the mosaic glass techniques of Roman and pre-Roman artists, and he spent years personally overseeing the work of the company’s technicians and glassblowers in attempting to revive those techniques. In 1872, the company was successful, managing to replicate the type of glass commonly known as “murrina” (plural, “murrine”^[4]).^[5]

The company was renamed Venice and Murano Glass and Mosaic Company Limited in 1872, and, in 1877, Layard purchased Salviati’s interest so that Salviati could pursue other interests.^[6] The company quickly earned a reputation for quality original glass art and reproductions as well as its many mural mosaics in Great Britain and elsewhere in Europe.^[7] In 1878, the murrine produced by Compagnia di Venezia e Murano was included in its exhibit at the International Exhibition in Paris, which was the chief attraction in Italian glass.^[8] In its observations of the display, the United States Commission to the Paris exposition commented not only on “Roman murrhine glass”, but also particularly on the mural glass mosaics, the “perfection of which” had “engaged the earnest attention of the company.”^[9] Mosaics produced by the company during the time period are still in existence in diverse areas such as Gonville and Caius College Chapel in Cambridge; the Church of San Paolo Entro Le Murain Rome, the Victoria and Albert Museum, Westminster Cathedral in London, the Chamberlain Memorial in Birmingham, Palazzo Barbarigo and the Senate House rooms in the United States. The last specimen, a portrait of Abraham Lincoln, was produced and donated in 1866.

Through the last years of the 19th century, Compagnia di Venezia e Murano took part in many other displays. Prior to the 1878 exhibition in Paris, it had shown at the Maritime Exhibition in Naples and the Trieste Exhibition in 1871 and at the International Exhibition in Vienna in 1873, where it won 13 prizes for decorative arts. It unveiled a new focus in 1881 with the display of the first of its glass phoenixes at the National Exhibition in Milan. It exported several thousand works for display at the World’s Columbian Exposition in Chicago in 1893, also setting up akiln so that the public could observe the company’s glass blowing techniques. In 1895, it exhibited at the first Venice Biennale (an event at which it would also feature later), with artisan Vincenzo Moretti taking prizes and artisan Attilio Spaccarelli earning special note for his engraving.

1900 saw a change in the company when its British owners sold their interest to a businessman from Venice named Tosolini, who was the owner of shops in St. Mark’s Square. Under Tosoloni’s ownership, the company stopped production in 1909, though it continued commercial distribution at St. Mark’s Square.

Merger with Pauly & C

Pauly & C was formed in 1903 by Emilio Pauly, Alessandro Hirscber Hellman, Vittorio Emanuele Toldo and Ernesto Graziadei, opening showrooms in Palazzo Trevisan Cappello, which would remain the headquarters of the company until its closure in 2007 for restoration. In 1919, Pauly & C. and Compagnia di Venezia e Murano were both purchased by the Milan Società Anonima Sanitaria, which resold them the following year to Gaetano Ceschina of Milan. The newly merged company, retitled to its present name, continued display in its previous locations of St. Mark’s Square and the Palazzo Trevisan Cappello. In 1925, the merged company resumed production of glassworks on Murano and began exhibiting again at the Monza Tirennale.

Post-merger growth and development

The company grew in 1933 with the acquisition of Maestri Vetrai Muranesi Cappellin, or MVM Cappellin, a glass company formed in 1925 by Paolo Venini and Giacomo Cappellin, which transferred to them rights to the works and designs of the MVM Cappellin artists such as Vittorio Zecchin and Carlo Scarpa. The company expanded into commissioned chandeliers, with notable pieces from the period being placed in such locations as the Palazzo del Quirinale in Rome; the Vatican Palace, and the Royal Palace in Copenhagen. More recently, interior lighting has been designed for such places as the Palazzo Bezzi in Ravenna and the Al Assawi family palace. In 1990, the company again expanded with the acquisition of Toso Vetri d’Arte glassworks.

Transition

Ceschina sold his interest in the company in 1963 to the Barbon family, who retained it until 1976, when they sold to Andrea Boscaro. Boscaro owned the company for almost 30 years before 2005.

Artistic associations

The company has a long history of association with international artisans. In the period following the second World War, the company undertook long-term associations with master glassblowers Anzolo Fuga and Alfredo Barbini, engraver Francesco Andolfato and painter Enzo Scarpa. Shorter associations include sculptor Napoleone Martinuzzi in the 1960s, painter Libero Vitali in 1971, architect Franz Prati between 1996 and 1997, and fashion designer Romeo Gigli in 1997. In the later 1990s, the company also featured exclusive designs by Heinz Oestergaard, Maria Teresa Lorella Gnutti and Berit Johansson, whose association with the company persisted. Since the turn of the century, associations have included Venetian sculptor Livio de Marchi and Chinese artist Xiao Fan Ru.

Museum display

Glass art produced by Pauly & C. – Compagnia Venezia Murano is on display in a number of museums. Among them:

• The Victoria and Albert Museum in London
• The New York Metropolitan Museum of Art
• The Cantor Arts Center at Stanford University, California
• The Corning Museum of Glass in New York
• The Museo del Vetro on Murano

1. ^ Garner, Philippe (1982). Encyclopedia of Decorative Arts. Galahad Books. p. 231. ISBN 0883656418.
2. ^ McFadden, David Revere; Susan Sacks, Marino Barovier, Susanne K. Frantz, Luca Vignelli, N.Y. American Craft Museum (2000). Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection. American Craft Museum. Retrieved 2008-12-16. “Pauly & C., a Venetian retail showroom, always affixed its own label…”
3. ^ Murphy, Bruce; Allexandra de Rosa (2007). Italy for Dummies. For Dummies. p. 342. ISBN 0470069325. “…visit the company headquarters on Rio di Palazzo, where you’ll see a large collection of antiques and high-quality copies of ancient models.”
4. ^ Lynn, Martha Drexler (2004). American Studio Glass, 1960-1990: An Interpretive Study. Hudson Hills. p. 162. ISBN 1555952399.
5. ^ Murano, Italy Museo civico vetrario, Museo civico vetrario (1884). Il Museo vetrario di Murano e la annessa Scuola di disegno negli anni 1882-1884. Premiato Stab. Tip.-Lit. dell’Emporio. p. 12.
6. ^ Jervis, Simon; Albert Museum (1987). Art & design in Europe and America, 1800-1900. E.P. Dutton. p. 224. ISBN 0525483527.
7. ^ Knight, 238, 241.
8. ^ Knight, 238.
9. ^ Knight, 241

Sources: Wikipedia

Cenedese

The GINO CENEDESE and SON glassworks owes its name to the founder, belonging to a family of ancient roots from Murano. Working the glass on the island of Murano is, and was even more so in the past, the destiny of the men over many generations: it was also the destiny of Gino Cenedese (1907-1973), who went into the glass furnace at the age of 9 learning the craft from different glass masters.
In 1946, at the end of the war, encouraged by the new times he founded the GINO CENEDESE & C glassworks. Under his guidance the glassworks, enjoyed a great stimulus establishing itself both at a national and international level because of the high quality of the production. Alongside the ancient tradition of glassmaking at Murano with the production of blown glass, goblets, vases, plates and world-famous Venetian chandeliers, Gino Cenedese was able to expand into the attractions of contemporary art, to the continuous research into new ways of enhancing and interpreting the properties of glass, a fascinating and brilliant material.
From the collaboration with different artists beginning in the Fifties historical objects were involved in important national and international exhibitions (at the Venice Biennale of 1950 with sculptures created in part with the prototypes of the master Barbini, in 1952 with fascinating and innovative blocks with submerged figures and abstract motifs – types of aquariums – by Riccardo Licata; in 1954 with the creation of “Little Theatre and Window” by the designer Fulvio Bianconi).
From 1953 to 1958 the Cenedese family took advantage of the collaboration with the sculptor Napoleone Martinuzzi, the creator of female figures in solid glass and bas-relief panels and designer of large-sized chandeliers.
In the same period they created “submerged” glass forms designed by the painter Luigi Scarpa Croce.
Subsequently the company undertook a continuing collaboration with Antonio Da Ros, an artist fascinated by the decorative and chromatic possibilities of the material, who from a young age learned all the secrets of the glassmaking art from the Cenedese family. With Da Ros, the Seventies saw an important creation of the “submerged” glass forms among which the “Contrappunti”, fluids submerged playing on different tones of colours (works present at the various Venice Biennale Exhibitions, to many of the Milan Triennial Exhibitions and other important international exhibitions). Da Ros is a solid presence in glassmaking: under his artistic direction various lines of modern fancy goods have been developed, characterized by stylised forms with coloured glass submersion.
In addition to fancy goods, important works have also been created by the Cenedese family in the field of lighting, both in the traditional style and in the design.
Amelio Cenedese has succeeded his father Gino, continuing the work following the guidelines already laid out. Presently the firms employs 60 workers in the production sector and 25 workers in the commercial sector, making one of the biggest employment complexes in Murano, where all the forms of artistic glass have been created.

Source:www.cenedesegino.it