13 - Attributed to CARLO SCARPA (Venice, 1906–Sendai, Japan, 1978) for Venini.

Attributed to CARLO SCARPA (Venice, 1906–Sendai, Japan, 1978) for Venini. An exceptional pair of wall sconces, Itala, c. 1940. Hand-blown Murano glass. One of them features a “Mezzo diamante” texture. Good vintage condition. Professionally rewired with Edison E26 lamp holders for use in the United States. The Murano glass is in very good condition, with minor irregularities characteristic of hand-blown production. Wear consistent with its age and use. We can adapt the wiring for use in Europe upon request. Pieces rewired and fitted with standard Edison E26 screw-in lamp holders. Measurements: 22 x 16 x 20 cm (x2). Made entirely of hand-blown, crystal-clear glass—thick and heavy—the lampshades possess a striking sculptural presence. Deep diagonal ribs run continuously across the surface, creating a fascinating interplay of light, transparency, and optical distortion. When illuminated, the considerable thickness of the glass transforms into an ever-changing landscape of reflections and shadows, highlighting the extraordinary craftsmanship of the Venini workshop during Scarpa’s most influential years. One of the most fascinating aspects of this pair is that the two diffusers are deliberately distinct from one another. Although they belong to the same model, one was obtained from a section of the original blown form in which the pattern of the “Mezzo Diamante” design is notably more pronounced. As a result, its central opening naturally has a more off-center position and a more irregular outline than that of its counterpart, a characteristic clearly documented in the photographs. This subtle asymmetry serves as an expression of the authenticity of Murano’s artisanal production, accentuating the unique and one-of-a-kind character of the pair. Scarpa trained at the Academy of Fine Arts in Venice, where he graduated in 1926. Fascinated by glass, he began designing furniture in the late 1920s, while frequenting Venetian artistic and intellectual circles and associating with figures such as Giuseppe Ungaretti, Carlo Carrà, and Lionello Venturi.In 1933, he began his collaboration with Venini, a pivotal period that lasted until 1947 and cemented his mastery of the craft. He participated in the Venice Biennale in 1932 and, shortly thereafter, in the Milan Triennale, placing himself at the center of the Italian artistic and architectural debate.