Venini Glass

Round Venini vase Murano glass 1985 multi-color Italian design.

Colletti series vase in greenish blown glass with two-tone incalmo band decoration designer Alessandro Diaz de Santillana. Venini engraved signature. After graduating in architecture...

Beautiful vintage well sized Murano hand blown glass bowl. The bowl is fashioned using the famous Sommerso technique, creating clear bubbles in champagne or caramel colour with gold flecks. This is most likely the work of the famous Venini glass foundry. This technique has been published in various Venini books. Created in the "a Bollicine...

Large Vetro Sommerso Vase by Carlo Scarpa for Venini Murano, circa 1930s. A large vetro sommerso bollicine vase designed by Carlo Scarpa between 1934 a...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Beautiful Venini vase in this canes twisted work, zanfirico technic that makes lattice patterns . This vase has a neck shape and is signed in bottom diamond point "Venini Italia" .

Laura Diaz de Santillana (b. 1955) for Venini rare Sommersi Oro vase from "Laura" series, Italy, 1993. This elegant hand-blown Murano glass vase is an exquisite blue color with gold ...

VENINI - mid-century studio glass latticino 'handkerchief' vase - striking pink ribbons with copper aventurine edges - unsigned - Italy (Venice) - circa 1950. Excellent vintage co...

Circa 1930s, Venini, Italy. These early modernist tumblers were designed by Carlo Scarpa in 1932. Delicately toned with cobalt blue rims they are decades ahead of their time. Excelle...

A stunning and large Venetian Murano art glass vase in peach colored translucent overlaid glass with gold aventurine inclusions made by...

VENINI - mid century Murano Fazzoletto Filigrana glass vase - yellow, white and clear canes - rare large size - smooth polished ground pontil mark...

Large Venini Art Glass vase with Inciso Decoration Paolo Venini, Murano 1956 A large vintage art glass vase in notte (night) blue pesante glass ...

Venini Art Glass bottle with Fasce decoration, Murano 1950s A large glass bottle in transparent green glass with red stopper and a red "a fascia" ...

Satin glass vase, designed and manufactured by Venini, features the same shape of the iconic opalino vase with a frosted finish. Indoor use only. Dimensions: Ø 20 cm, H 42 cm.  

Monumental Paolo Venini vase model 3556 for Venini in light grey Opalino glass. The second smaller vase measures Diameter 13 x H 38 cm. Both vases carry the Venini label and are Acid etched Venini Murano Italia...

Heavy Vetro Sommerso Vase by Carlo Scarpa for Venini Murano ca. 1930s A vetro sommerso bollicine vase designed by Carlo Scarpa between 1934 and 1...

Rare beautiful Tapio Wirkkala “Polipo” plate for Venini, from the serie “Piatti di Tapio” signed and dated Venini TW 90 on the back, made of Murano glass using Incalmo technique. The...

Beautiful Venini paperweight / abstract sculpture with a traditional swirl ribbon design. This is signed and is shown with circle marker in last picture, very faded, but is (Venini I...

Made in Italy, 1930s. These cherries are made by Napoleone Martinuzzi for Venini in Murano glass. This item might show slight traces of use since it's vintage as a chip on the top t...

Rare Laura de Santillana for Venini blown glass designed in the 1980s, large “Klee” model, signed Venini Italia Laura 84. This beautiful murano piec...

964.10 Triedri Crystal/Amber color glass. Chandelier composed of “Triedri“ elements in solid cristallo- and amber-coloured glass that when curved take on a hemispherical shape. The structure and chain are in chrome-plated metal. The Triedri, conceived between 1958 and 1960, are solid cristallo glass elements that, used as vertical modules for lighting fixtures, can be assembled to form various shapes. The trihedron, as a crystalline prism with a triangular section...

Eight stackable glass vases attributed to Timo Sarpaneva for Venini. Each glass vase measures about 6.5" high and 5" diameter.  

A Mezza Filigrana (halve filigree) Murano art glass bowl, manufactured by Venini in 1979. Most probably a design of Carlo Scarpa who designed mezza fil...

Made in Italy, Murano, 1930s. Between 1932 and 1933 the Milanese architect Tomaso Buzzi, a spirited protagonist of the Milan “neoclassicist” movement, a friend and associate of Gio Ponti, and a partner of Il Labirinto, established a fruitful collaboration with the Venini glassware company, which would continue, albeit episodically, in later years. The architect’s creative contribution was evident both in the glass forms and in their innovative manufacturing technique. When Buzzi arrived at the Venini company in Murano, in 1932, he brought with him a remarkable cultural baggage and a thorough knowledge of ancient art, particularly the Etruscan period...

Beautiful vintage murano hand blown white and purple ribbons Italian art glass fazzoletto / handkerchief vase. Documented to designer Fulvio Bianconi, and signed "Venini Murano Itali...

The models in the 99.81 collection were designed by Gio Ponti, who in 1946 applied to the contemporary style the refined colours introduced in the Venini palette by the great desig...

Venini Art Glass vase with Inciso Decoration Paolo Venini, Murano 1956 A vintage art glass vase in erba pesante (grass green) glass with layered...

Made in Italy, Murano, 1930s. Between 1932 and 1933 the Milanese architect Tomaso Buzzi, a spirited protagonist of the Milan “neoclassicist” movement, a friend and associate of Gio Ponti, and a partner of Il Labirinto, established a fruitful collaboration with the Venini glassware company, which would continue, albeit episodically, in later years. The architect’s creative contribution was evident both in the glass forms and in their innovative manufacturing technique. When Buzzi arrived at the Venini company in Murano, in 1932, he brought with him a remarkable cultural baggage and a thorough knowledge of ancient art, particularly the Etruscan period...

Beautiful vintage Murano hand blown Sommerso blue and peachy color Italian art glass flower vase. Designed by Paolo Venini, circa 1955 for Venini e. Co. The vase has an elegant taper...

A beautiful Corroso a Bugne vase by Carlo Scarpa for Venini. With acid signature "Venini Murano" Literature: "Venetian Art Glass: An American Collection 1840 - 1970", Barovier, pag...

Very large Vetro Soffiato glass dish by Vittorio Zecchin for Venini Murano ca. 1925 A very large 'vetro soffiato' glass dish in amethyst transparent glass, designed by Vittorio Zecchin in 1925 and manufactured by Venini, Murano Venice. Acid stamped signature 'venini murano' on the base. Venini model number 1306. The dish has been manufactured in different sizes, this is the larges version which is very rare. One of the early 20th century designs of Zecchin for Cappellin and Venini which motivated the muranese glass companies to set out for new shores. Good condition with some surface scratches. The last picture shows it together with a mid size version with 14.29" inches as comparison of the sizes. Measures: Height: 3.35" (8.5 cm) Diameter: 20.08" (51 cm) Literature Reference: Marino Barovier, Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Milano 2017, pages 326, 336 and 357 Vittorio Zecchin (1878 - 1947) was a native Muranese and son of a glasswork technician. He graduated from the Academy of Fine Arts in Venice. Together with the painter Teodoro Wolf Ferrari...

Italian glass bottle with stopper, “Incisi” series, in two-color submerged glass with surface entirely worked by grinding produced by Venini Murano. Venini 80 engraved signature und...

The “Poliedri” were first proposed as components making up the large Venini chandelier, designed by Ignazio Gardella, Paolo Venini and Massimo Vignelli, presented at the 1958 Brussels...

Lattimo Velato vase by Carlo Scarpa for Venini Murano ca. 1936 A rare lattimo velato vase designed by Carlo Scarpa ca. 1936. Manufactured by Venini Murano Venice in the 1930s. Thin ...

Rare Laura de Santillana for Venini blown glass designed in the 1980s, “Klee” model, signed Venini Italia Laura 84. This beautiful murano piece feat...

A white 'occhi' murrine vase designed by Tobia Scarpa in 1960, manufactured by Venini, Venice ca. 1970. Etched signature 'venini italia' on the base. Measures: Width: 3.94" (10 cm) ...

PARALLELO 893.76 Peter Marino’s work is notoriously provocative. The Rotondo, Cilindro, and Parallelo lamps are no exception: using the “Fasce” technique, the artist hot-works colour...

The desire to make a stylistic renewal, while remaining faithful to the fine craftsmanship of the Italian tradition, constitutes the solid basis on which the perfect collaboration between the Venini company and the designer Gio Ponti is founded And it is from this synergy that the Gio Ponti 99.80 series was created in 1946: the combination of clean lines and bright colours still make it a classic appreciated by connoisseurs all over the world Its absolute originality derives from the alternation of curved arms, each in glass of a different colour. “Everything in the world must be full of colour” - Gio Ponti Blown glass chandelier consisting of two spherical elements coloured red and sapphire, transparent coloured glass arms and green bottom...

ROTONDO 893.50 Peter Marino’s work is notoriously provocative. The Rotondo, Cilindro, and Parallelo lamps are no exception: using the “Fasce” technique, the artist hot-works coloure...

Model 1329 in the 'Paris' colorway of red, blue, green, and hay yellow glass. One of Bianconi's major contributions to the art of glassmaking, the Pezzato series premiered at the 195...

951.20 Crystal color glass. "The “Poliedri” were first proposed as components making up the large Venini chandelier, designed by Ignazio Gardella, Paolo Venini and Massimo Vignelli, presented at the 1958...

Venini frame brass Murano glass, 1940, Italy.

Vetro calcedonio vase by Napoleone Martinuzzi for Venini Murano ca. 1930s. A very rare Murano art glass vase attributed to Napoleone Martinuzzi around 1930. Manufactured by Cappelin in the 1920s or Venini in the 1930s. Thin hand blown malachid (calcedonio) glass with curved handles on each side. Similar to Venini model number 3255. This model was produced in different glass types. The vase is not signed. It was bought from a very famous collection in the 1990s. Reach out for more information on the provenance. Measures: Height: 9.06" (23 cm) Diameter: 6.3" (16 cm) Napoleone Martinuzzi (1892 -1977) was an Italian sculptor and designer who left his mark on Italian glass art in particular. As graduate of the Academy of Fine Arts in Venice, he worked with Ca' Pesaro artists and exhibited at Ca' Pesaro in 1908. In the 1920s he was appointed as Director of the Murano glass Museum. In 1925 he founded Venini & Co. with Paolo Venini and others, of which he took over the artistic direction. For Venini he created stunning creations in soffiato, opaque and pulegoso glass that received international recognition with many awards. His creations of animals, fruits and succulent plants gained international success too. The Cenedese Glassworks , Seguso Vetro d'Arte and Pauly & Co were his last creative stations. Literature Reference: Marino Barovier, Napoleone Martinuzzi Venini 1925 - 1931, Milano 2013, pages 159, 314, 330 (shape) and 323, 328 (glass technique) Franco Deboni, Venini Glass Volume 2, Turin 2007, page 80 (glass technique) Marina Barovier, Napoleone Martinuzzi Vetraio del Novecento, Padua 2001, page 27...

Venini’s artistic director for more than a decade, Carlo Scarpa deeply influenced the company’s production, managing to merge his own intellectual vision with the highly refined tech...

This is an original bottle without stopper, by the well known designer Fulvio Bianconi, has 3 acid marks and on top original foil label as shown in pictures.

963.12 Crystal color glass. Circular chandelier composed of handcrafted “Trilobi” modules in solid cristallo glass, hung from a chrome-plated structure suspended from steel cables. ...

Italian light blue glass bottle with stopper, “Incisi” series, submerged glass with surface entirely worked by grinding produced by Venini Murano, Ve...

Tan France Auction Pick A Forato vase in green, and amber colored glass designed by Fulvio Bianconi in 1951, manufactured by Venini, Venice, Italy ca. 195...

Bolle Glass vase series, designed by Tapio Wirkkala and manufactured by Venini, was originally designed in 1966. Iconic masterpieces available in 5 different shapes. Indoor use only....

Very rare and large, antique Murano hand blown "A Fasce" striped Italian art glass fish with iridescent surface sculpture. Documented to Tyra Lundgren circa 1935-1936, fully signed "...

A large Fazzoletto (handkerchief) vase in transparent red glass. Manufactured ca. 1950s by Venini, Venice after a design of Fulvio Bianconi. On the base with acid etched signature 'v...

Cilindro 893.65 Peter Marino’s work is notoriously provocative. The Rotondo, Cilindro, and Parallelo lamps are no exception: using the “Fasce” technique, the artist hot-works colour...

Venini Murano Glass Book Ends with Red and White Murrine, Italy 1969 Reference: Catalogo Ragionato Venini

A beautiful Venini Fazzalleto vase of green and white Zanfirico. A Fulvio Bianconi Design. Acid signed on the bottom with the 'three line signature'. Venini Murano Italia

Hand blown incalmo glass decanter in white and green with stopper. Unsigned. Published: Venini: Catalog Raisonné 1921-1986, Diaz de Santillana, pg. 296. ...

Satin glass vase, designed and manufactured by Venini, features the same shape of the iconic opalino vase with a frosted finish. Indoor use only. ...

Splendid glass vase designed by Tapio Wirkkala for the prestigious Italian manufacturer Venini. The designer's signature is clearly visible on the bottom. The vase has a very simple...

Large hand-blown glass charger with mezza filigrana and white glass center by Tapio Wirkkala for Venini, Murano Italy, 1966 (signed on bottom “Venini Italia TW”). Tapio Wirkkala was one of the most important Finnish mid-century designers. He collaborated with Venini to make unique glass art pieces. Reference: Venini Catalogue...