Glass

Venini Puzzle glass in coral/aquamarine by Ettore Sottsass. Numbered edition for year. Hand-blown glass. Color: Coral/Aquamarine Technique: Opal Dimensions: Ø 27 cm, H 40 cm Ye...

A multitude of shapes and colours. Every bottle has its own, chosen with care by Paolo Venini in 1956. Skilfully etched to conceal their imaginary content, they pique the curiosity o...

Made in Italy, 1930s. This fig is 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, but it ...

Made in Italy, 1930s. These tangerines are made by Napoleone Martinuzzi for Venini in Murano glass. These items might show slight traces of use since they are vintage as a chip on t...

Napoleone Martinuzzi attr. for Venini 'A Bolle' Vase ca. 1927 A large 'soffiato a bolle' vase in amber glass with regular air bubbles. Attributed to Napoleone Martinuzzi, manufactur...

"Kelo" Italian art glass vase by Timo Sarpaneva for Venini & Co. Glass, clear, black, white and red. Marked: Venini 90 Sarpaneva (engraved).

Large Venini Vase 'Kukinto', Designed by Timo Sarpaneva in 1991 A monumental vase from the Kukinto series. Designed in 1991 by Timo Sarpaneva and produced 1992 by Venini, Murano. In...

Paolo Venini Inciso Glass Bottle Manufactured by Venini 1990s A vintage "Inciso" glass bottle designed by Paolo Venini in 1956 and manufactured by...

Ciotola Carlo Scarpa Venini, Murano Italy, 1950 Vetro "Filigrana" Rosso Perfette condizioni

Diamante Glass Bowl by Venini, Italy 1940s

Paolo Venini Inciso Glass Bottle Manufactured by Venini 1990s Item e7105 A vintage "Inciso" glass bottle with triangular shape designed by Paolo Venini in 1956 and manufactured by Ve...

Large Venini Vase 'Coreano', Designed by Tapio Wirkkala in 1966 A blue and green a fasce a spirale vase from the Coreani series. Designed in 1966 by Tapio Wirkkala for Venini. Produ...

Large Venini Bowl 'Coreano', Designed by Tapio Wirkkala in 1966 A blue and green a fasce a spirale bowl from the Coreani series. Designed in 1966 by Tapio Wirkkala for Venini. Produ...

"Foglia" ciotola Tyra Lundgren Venini, 1950 Vetro Bianco "Mazza Filigrana" Presentata per la prima volta alla Biennale di Venezia del 1938 Eccellenti condizioni

Plate by Tapio Wirkkala for Venini, worked in incalmo blown glass with filigree. The incalmo technique consists of hot coupling two blown shapes along their circumference, so as to o...

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 ITALIA' on the base. Venini model number 1306. The dish has been manufactured in different sizes, this is the second largest 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. 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...

Venini Vase 'Fazzoletto' in red, Venice Murano 1950s A vintage fazzoletto (handkerchief) vase in transparent red glass. Manufactured ca. 1950s by Venini...

Venini A Canne Pitcher by Gio Ponti Venice Murano 1950s A vintage "a canne" pitcher with twisted polycrome canes in red, blue, green and yellow. Manufa...

Vetro Soffiato Glass Vase by Vittorio Zecchin for Venini Murano ca. 1950 A 'Vetro Soffiato' glass vase in red and transparent glass with slightly iridised surface, designed by Vittorio Zecchin in 1920 and manufactured by Venini Murano Venice ca. 1950. Acid etched signature 'venini murano ITALIA' on the base. Venini model number 1465. Very good condition with slight inside deposit. 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...

Venini Vase 'Lapponi', Designed by Tapio Wirkkala in 1968 A rare vase of the Lapponi (laplanders) series designed in 1968 by Tapio Wirkkala for Venini. Thin red and smoke grey glass...

Set of 2 small decorative Murano flasks designed by Laura de Santillana and manufactured by Venini in the 1980s. the green flask shows a visible small chip at the neck as stated in p...

"Incamiciato" Italian art glass vase by Tomaso Buzzi for Venini. Stunning white glass in original Venini box and with "Certificate of Authenticity."

Reverse cone shape with vivid turquoise blue glass ring on black glass base. SIGNED and dated to bottom.

Tyra Lundgren Vase 'Calla' for Venini A calla vase in filigrana glass designed by Tyra Lundgren in 1948, manufactured by Venini, Venice 1981. Incised signa...

Here is an exquisite 1950's small Venetian white glass "Fazzoletto" (handkerchief) vase. Made on the island of Murano, near Venice, Italy, by famous manufacturers Venini, designed by...

A capital “Inari” art-object/bowl, model 537.12, crafted in striking freeblown turquoise, pale yellow and black glass. Designed by the renowned Tapio Wirkkala in 1981-1982, this rare...

Here is an exquisite 1950's small Venetian green & yellow glass "Fazzoletto" (handkerchief) vase. Made on the island of Murano, near Venice, Italy, by famous manufacturers Venini, de...

Made in Italy, Murano, 1990s. This vase is made in light blue opaline glass inside and a royal blue opaline glass outside. It features a darker glass base and it's been hand-blown i...

Set of six glasses (plus 1) in multicolored Murano glass, made by Venini in the 1950s. Each glass is signed at the base. Ø 7 cm h 21.5 cm

Italian glass bottle vasec with stopper, “Incisi” series, in two-color submerged glass with surface entirely worked by grinding produced by Venini Murano, Venini trademark 2004 engra...

Beautiful murano glass bowl, is in double ring center, signed Venini , Italia and also label .

ezed vase Fulvio Bianconi Venini & C. 1951 H 22 cm diam. 15.5 cm 1951, IX Milan Triennale Letteratura: Murano Milan Venice GlasDie Neue Sammlung - The Design Museum 2010, p. 136 ...

Spinzi is a Milano based creative atelier specialised in furniture design as well as sourcing and trading relevant mid-century collectible design. Check out our storefront and websit...

Venini Puzzle glass in coral/Gray by Ettore Sottsass. Numbered edition for year. Hand-blown glass. Color: Coral/Gray Technique: Opal Dimensions: Ø 27 cm, H 40 cm Year of Manuf...

A very fine set of 4 Venini glass plates. Design attributed to Pierre Cardin. The group comprising 4 thick, square glass plates with rounded corne...

With its unique features and meticulous attention to detail, this object is a testament to Tobia Scarpa's innovative vision and artistic sensibility. The small jar is in ivory opal ...

Gio Ponti for Venini "Old Lady Bottle" with stopper model 4492, Italy, 1990. This lovely bottle has the shape of a female made in glass with two colo...

White "filigrana" murano glass bowl. Venini, 1950s Perfect condiction.

Venini Art Glass Bowl 'Diamante' by Paolo Venini, Murano 1930s A rare Venini art glass bowl of the 'Diamante' series. Heavy transparent glass with a ...

Amazing Fulvio Bianconi, Harlequin, Venini Murano 'Italy' The series include 5 different shapes of harlequins, it has been designed by Fulvio Bianconi around 1953 – 1954. A work tha...

Rare Murano glass liquore set in red and black color. Designed by Napoleone Martinuzzi for Venini in the 30s. In good vintage condition with minor signe of use and age. Dimentions:...

Mid Century handkerchief glass vase - twisted yellow canes with copper aventurine and white latticino - rare small size - smooth polished base ...

Venini Narciso Opaline Glass Vase. A red exterior with grey interior Original Venini sticker label and papers. In original foam fitted box. Please note the image used in the main ph...

Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano 1950s A rare Fazzoletto (handkerchief) vase in transparent glass with whit...

Murano Glass Vase

“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...

A rare capital “Coreano” Artglass-object, model 504.4 in freeblown applegreen and turquoise glass. Designed in 1966 and handmade by the craftsman of the Venini glassworks on the Isl...

Venini art glass vase 'Bolle' by Tapio Wirkkala for Venini, Murano 1966 A vintage art glass vase of the 'Bolle' series. Thin mouthblown grey and aquamarine glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in the 1970s. Venini model number 503.01. Signed with incised signature 'venini italia tw' on the base. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...

Five small turquoise opaline hand blown bowls by Paolo Venini (1895-1959) circa 1950 for Venini, opaque glass, acid stamp to each 'Venini Murano Italia'. Dimensons; each height 1 1/...

Venini Vase 'Fazzoletto Opalino', by Fulvio Bianconi 1950s A Fazzoletto vase in opaline and rose glass with clear glass overlay. It was manufactured in the 1950s by Venini, Venice a...

Vetro Soffiato Glass Vase by Venini Murano ca. 1950s A 'Vetro Soffiato' amphora glass vase in light-amethyst transparent glass. Manufactured by Venini Murano Venice ca. 1950s. Venini model number 3808. Unsigned. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...

“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...

Amazing and fabulous Italian handmade and blown bottle in green color glass with stopper, from the “Velati” series designed and produced by Venini Murano in 1981. Original Venini Murano label...

Vintage Murano Art glass vase 'Bolle' by Tapio Wirkkala for Venini A vintage art glass vase of the 'Bolle' series. Thin mouth blown stra...

Venini Bullicante bowl in vibrant ruby orange with gold foil inclusions by Carlo Scarpa circa 1950. Measures: 4" x 4" x 2" high. 1950s Italy.   

Made in Italy, 1940s. This tiny bonbonniere is made in sommerso Murano glass, with gold flakes and few bubbles due to the process of glass blowing. It is a vintage piece, but it can ...

Venini Art glass vase 'Bolle ' by Tapio Wirkkala for Venini, Murano 1966 A vintage art glass vase of the 'Bolle' series. Thin mouthblown straw and applegreen glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in 1981. Venini model number 503.02. Signed with incised signature 'venini italia tw 81' on the base. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...

Venini Art glass vase 'Bolle ' by Tapio Wirkkala for Venini, Murano A vintage art glass vase of the 'Bolle' series. Thin mouthblown grey and amethyst glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in 1997. Venini model number 502.02. Signed with incised signature 'venini 97 tw' on the base. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...