Wright Auction

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a group of these pieces would go on to win the coveted Gold Medal for Glass at the Venice Biennale of 1962, only to be rescinded after the judges realized that the designer was an American.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.