As I got this piece I started to put together all data for the correct evaluation.
First, hardware uses aluminum wire and has aluminum parts. In general this indicates 1936-1941 period. Before and after wire would be copper and hardware all brass. Aluminum repaced brass and copper during the Italian embargo in 1936. After 1941, there was basically no art production.
The reticello/doppia filigrana with marking canes is a signature of Dino Martens at Aureliano Toso. The construction is made by seven lattimo and one avventurina cane. This sequence confirms Dino Martens identification. The use of marking canes in reticello and filigrana was featured first at the Biennale 1940 by Aureliano Toso. Vase 2414 has a very similar pattern. I have not seen so far any use of doppia filigrana with aventurina marker on lighting. Usually lighting, during the 30s had the regular reticello white allover. 1940 was the year of play with filigrana colors. Carlo Scarpa introduced the tessuti in the same year. The use of marking canes on lighting started later, mostly on regular filigrana, also known as mezza filigrana, and used widely by both Carlo Scarpa and Dino Martens.
The construction and design of the chandelier is typical of the 30s, several can be seen on Barovier or Venini catalogs. The addition of the upper disc, however, is unique. It really captured my attention and, I found the solution when taking pictures lit.
Last, the chandelier comes from the south of Italy.
Putting all the elements together, I have a nice story. This is a chandelier made to order for a visiting customer/s in Venice. Probably in 1940 at the Biennale, or visiting Aureliano Toso showroom.
Visitors were intrigued by the new reticello technique with the avventurina marking cane, seen on a vessel. They also wanted to buy a chandelier, and loved the shape of a reticello all white deco piece in the showroom and asked to use the new exciting pattern on that piece.
Yes, it’s all imagination.
I see at this point asking the expert, Corrado if that was possible. The plate is 50cms diameter 20in. Corrado, now Dino, explained the reason not to use the aventurine marker on shades is that when the piece is lit, the aventurina works only on reflection, thus disappears. With the disappointment of customers Dino (and I’m seeing Dino Martens because it needs a designer who knows light and glass to come up with such a solution) said he would add a disc above, so that the aventurine would then be visible also when lit, in reflection.
Let’s set a month for this. It’s May 1940. First month of the 22th Biennale. Italy would go in war the following month and this was the last month of peace for a happy couple in honeymoon in Venice. This last is really made up, I see a gentleman accommodating the bride’s request. A merchant would not have got that same attention.
I love the piece and I decided to give a different evaluation instead of the classic analysis of the piece. Apart from above, this is a milestone of the art glass history. Today, very few artist can make such a splendid piece.