Thomas Stearns
A Fili
Until very recently, it was believed that this vase and others of its type were designed by Carlo Scarpa for Venini in the early 1940s. At the Biennale of 1942, various A Fili models were exhibited and logic dictated that these asymmetrical forms, though not published in period photos, must have been Scarpa designs as well. In essence, the technique is the same—colored canes following the form of the vessel in a painterly fashion. All works from the A Fili series have been highly sought after as so few examples, in any form, are known to exist.
The discussion of authorship changed abruptly with the discovery of photographs from the Venini archive. While Marino Barovier and his team were researching the work of Thomas Stearns for their seminal exhibition at Le Stanze del Vetro in 2019, a series of photographs were unearthed which showed the asymmetrical A Fili vases along with other Thomas Stearns vessels from his tenure at Venini (1960-1962). This evidence along with the understanding that Scarpa did not generally design asymmetrical vessels made the reversal of authorship necessary—a bold move indeed after decades of attributing this design to Carlo Scarpa. The presentation of several models at the Stearns retrospective in 2019 affirmed that these designs do indeed belong to the brilliant mind of Thomas Stearns and are among the rare and coveted works produced during his all too brief tenure at Venini.
The Collection of Robert and Lisa Kessler
By Sara Blumberg
It is with great pleasure that we present the glass collection of Robert and Lisa Kessler of Colorado. Beginning in the early 1990s, the Kesslers turned their attention to the field of Murano glass and proceeded to build a collection filled with rare and unique examples from the 1930s to the 1960s and beyond. As experienced collectors of art and design, they began their adventure in glass by identifying the best dealers and auction houses in the world. The pair understood the importance of following their own aesthetic path while keeping pace with the then emerging Italian glass market.
This spectacular collection covers many decades and highlights include rare examples by Carlo Scarpa, Napoleone Martinuzzi, Paolo Venini, Fulvio Bianconi, Archimede Seguso and Thomas Stearns. One of the great joys of curating this auction has been the chance to handle pieces not seen since their first appearance— whether in early auctions or in small exhibitions and catalogues. From the landmark sales of the early 1990s at Stadion in Milan to the best dealers in Europe and New York, the Kesslers were committed to acquiring the finest and rarest examples possible while adhering to their love of objects rooted firmly in the history of art and design.
The Kesslers were committed to acquiring the finest and rarest examples possible while adhering to their love of objects rooted firmly in the history of art and design.
Robert and Lisa Kessler are true collectors and their interests are as far reaching as they are deep. Well-known as connoisseurs of Southeast Asian bronzes and Chinese paintings and scrolls, perhaps their greatest passion is reserved for contemporary Japanese ceramics. One of the true pleasures of touring the Kessler’s various collections was recognizing their passion for art of all periods and origins expressed in sculptural form. It was therefore fascinating to note that most of their Murano glass pieces were chosen for their shapes and techniques as opposed to the transparency generally associated with glass. It is certainly no coincidence that the collection offers so many examples by Carlo Scarpa, whose love of Asian art and history is well known—this fascination is magnificently represented in his work as both a glass designer and architect. Scarpa’s work for MVM Cappellin and later for Venini perfectly expresses his desire to explore the medium of glass in new and dynamic ways by honoring the connection between surface (techniques often of his own invention) and form.
The Kessler glass collection is unique in many ways. With keen attention to new applications of ancient techniques, the choices made allow one to trace the most forward thinking efforts on the island of Murano during the 20th century.
The Kessler glass collection is unique in many ways. With keen attention to new applications of ancient techniques, the choices made allow one to trace the most forward thinking efforts on the island of Murano during the 20th century. From delicate Fenicio vases to Bollicine and Pulegoso vessels of the 1930s, one recognizes the intention to redefine the medium and move away from the tradition of transparency. The Postwar period brings more invention, this time a reaction to and reflection of world art expressed through the complex use of canes and internal abstract decoration thus reimagining the vessel as a three dimensional canvas. Yoshi Ohira’s inventive works in glass from the 1990s provide the culmination of this sensational collection and reinforce the thread of experimentation connecting all great art and design.
On November 1st, 1960, the young American artist Thomas Stearns arrived in Venice and began a tenure as guest designer at Venini, an appointment which would last until 1962. Working closely with Venini’s youngest Maestro, ‘Checco’ Ongaro, Stearns would design a number of highly refined and experimental glass vessels and objects; a group of these pieces would go on to win the coveted Gold Medal for Glass at the Venice Biennale of 1962, only to be rescinded after the judges realized that the designer was an American. Stearns’ odyssey at Venini is beautifully captured in his own essay, The Facades of Venice: Recollections of my Residence in Venice, written in 1989 and published in the catalog of Muriel Karasik’s seminal show, The Venetians, Modern Glass, 1919 – 1990.
Due to the fact that most of Stearns’ designs were produced in very limited numbers, today they are highly sought after by collectors. More importantly, these pieces exhibit an innovative sculptural integrity which perfectly expresses the spirit of the times in which they were made.
And while Stearns was not the first American to work at Venini, he was certainly the most influential. In fact, his time there changed the very dynamic between designer and craftsman, as his constant presence at the Venini furnace challenged age-old Muranese traditions and class distinctions. The next generation of American artists to study at Venini, including Dale Chihuly, Toots Zynsky, Richard Marquis and others, owe a debt of gratitude to the patient and intrepid Thomas Stearns.
Auction Results Thomas Stearns
