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.
Fulvio Bianconi 1915–1996
Born in Padua in 1915, Fulvio Bianconi initially rose to prominence as an illustrator, graphic designer and caricaturist working for Italy’s top companies during the 1930s. Designing for big names like Fiat, Pathé and Pirelli, Bianconi employed his passion for drawing as the creative mind behind one of Italy’s most prestigious publishing houses, Garzanti for over 30 years. However, it is perhaps his post-war collaboration with Paolo Venini and experimentation with glass which best defines his legacy as an artist.
On a business trip to Murano in 1947, Bianconi met with Paolo Venini who immediately recognized his talent and offered him a position as artistic director, a post which had recently been vacated by the celebrated architect Carlo Scarpa. Engaged on a free-lance basis, Bianconi’s arrangement with Venini was somewhat unusual but seemed to suit his idiosyncratic personality and artistic inclinations.
From the very beginning, Bianconi’s approach at Venini was entirely that of a fine artist, drawing inspiration from modern art, fashion and graphic design. As a cartoonist and caricaturist he was also able to re-envision cultural themes from Italy’s past and express them in a fresh, contemporary way. All of this was in fact encouraged by Venini, who seemed to have an innate understanding of Bianconi’s frenetic style and unique abilities.
From 1947 to 1950, Bianconi designed numerous series of sculptural objects and vessels including the Commedia dell’Art figures, Fazoletto (handkerchief) vases, Pezzati (patchwork) and con Macchie (stained) vessels, all of which have all now become icons of post-war Italian design. Sometimes surreal, often abstract, these series captured the spirit of the times and expressed the essence of La Dolce Vita and the exuberance of post-war Italy. While Murano had been demonstrating an awareness of modern art since the early part of the century, it is only with Bianconi that it found itself on equal footing.
Bianconi designed unique, modern art objects on a human-scale and for this, Murano glass was the perfect vehicle. From this point of view, one could say that Bianconi was instrumental in the liberation of Murano glass from its own cultural and historical definitions.
Auction Results Fulvio Bianconi
