Italy
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Creator: Venini
Pair of Venini Tronchi Sconces or Wall Lights by Toni Zuccheri, 1970s
By Venini
Located in Palermo, PA
Indulge in the timeless elegance of this remarkable pair of Venini Tronchi wall lights, expertly crafted by the talented Toni Zuccheri during the 1970s. These captivating sconces fea...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Metal
Chandelier Murano 12 Lights 1940, Color Ambra Red Profiles, Round Shape, Glass
By Venini
Located in Milano, IT
Exceptional 1940 chandelier. Murano Venini. Amber red borders.
Category
1940s Italian Other Vintage Italy
Materials
Glass
VENINI Table Clock /Scrivania Brass Murano Glass 1950 Italy
By Venini
Located in Milano, IT
Venini Desk or Table Clock
Category
1950s Italian Other Vintage Italy
Materials
Murano Glass
Iconic Venini Esprit Chandelier, 1970
By Venini
Located in Rome, IT
This striking esprit chandelier was produced by Venini during the 1970s.
Explosion of flowers, made with amber and clear precious Murano glasses.
C...
Category
1960s European Mid-Century Modern Vintage Italy
Materials
Glass
Venini Centerpiece Murano Glass, 1940, Italy
By Venini
Located in Milano, IT
Centerpiece VENINI.
Category
1940s Other Vintage Italy
Materials
Murano Glass
Italian Midcentury Murano Glass Chandelier, Venini "Tronchi" by Toni Zuccheri
By Toni Zuccheri, Venini
Located in Traversetolo, IT
Toni Zuccheri's design for Venini's chandelier in the late 1960s is truly remarkable. The combination of Murano glass, brass, and chromed steel creates a stunning visual effect that ...
Category
1960s Italian Mid-Century Modern Vintage Italy
Materials
Brass, Steel
Carlo Scarpa Green Poliedri Chandelier in Murano Opaline Glass for Venini, 1958
By Carlo Scarpa, Venini
Located in Vicenza, IT
“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...
Category
1950s Italian Mid-Century Modern Vintage Italy
Materials
Glass, Murano Glass
Italian 1970s Toni Zuccheri for Venini Sconces "Patchwork" Murano Glass
By Venini
Located in Firenze, FI
Ceiling or wall lighting system made up of 8 Murano glass elements, "Patchwork" model, designed by Toni Zuccari for Venini.
The structure is in white painted metal on which the tran...
Category
1970s Italian Mid-Century Modern Vintage Italy
Materials
Metal
Venini Clessidra Hourglass in Sapphire Cipria Pink Murano Glass
By Fulvio Bianconi, Venini, Paolo Venini
Located in Brooklyn, NY
Clessidra hourglass in amber murano glass by Paolo Venini and Fulvio Bianconi. Little grains of sand, impalpable and unnoticeable as a whole yet so real, like time ticking away. In 1...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Murano Glass
Italian modern Glass Chandelier Firenze by Ettore Sottsass for Venini, 1990s
By Ettore Sottsass, Venini
Located in MIlano, IT
Italian modern glass chandelier Firenze by Ettore Sottsass for Venini, 1990s
Chandelier mod. Firenze (Florence) composed of a series of...
Category
1990s Italian Modern Italy
Materials
Metal
21st Century Labuan Large Glass Vase in Orange by Venini
By Venini
Located in murano, IT
It draws inspiration from faraway places, halfway between fantasy and reality. Paolo Venini opted for a unique palette of Aquamarine, Horizon and other fine hues to present it to the...
Category
21st Century and Contemporary Italian Italy
Materials
Glass
Venini Mid-Century Modern Murano Glass chandelier
By Venini
Located in Palermo, PA
Mid-Century Modern chandelier by Venini. 42 Murano glasses set on a metal base consisting of 2 tiers.
The light has 7 bulbs.
Details
Creator: Venini, Murano
Dimensions: Height...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Metal, Chrome
Italian Lighting Eliche Chandelier by Venini Murano, 1960
By Venini, Toni Zuccheri
Located in Milan, Italy
Suspension lamp with metal structure and modular elements in Murano glass from the Elica series. Designer Toni Zuccheri. Signed.
Produced by Venini, Italy, circa 1960.
Biography
To...
Category
1960s Italian Modern Vintage Italy
Materials
Metal
Venini Couple Chandeliers Murano Glass Iron Brass, 1940, Italy
By Venini
Located in Milano, IT
Venini chandes.
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
20st Century Venini Murano Glass "Tolboi" Floor Lamp in Green
By Venini
Located in Puglia, Puglia
Floor lamp in blown and handmade glass, produced and signed by Venini. Lattimo diffuser, stem and decoration in crystal with green core. Base and supports in brass.
Category
1990s Italian Mid-Century Modern Italy
Materials
Brass
Applique Murano Glass by Venini, 1940
By Venini
Located in Milan, Italy
Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...
Category
1940s Italian Modern Vintage Italy
Materials
Murano Glass
Applique Murano Glass by Venini, 1940
By Venini
Located in Milan, Italy
Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...
Category
1940s Italian Modern Vintage Italy
Materials
Murano Glass
VENINI Table Lamp Brass Murano Glass Lampshade Fabric 1950s Italy
By Venini
Located in Milano, IT
VENINI table lamp
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
Tapio Wirkkala for Venini 'Coreani' Vases, circa 1970s
By Tapio Wirkkala, Venini
Located in Parma, IT
Pair of Venini vases "Coreani" design Tapio Wirkkala, circa 1970s.
In two-tone blown glass with overlapping spirals.
Signature engraved on bottom and Venini label...
Category
1970s Italian Vintage Italy
Materials
Murano Glass
Venini Table Lamp Murano Glass Brass Lampshade, 1940, Italy
By Venini
Located in Milano, IT
Lampada da tavolo Venini Misure solo della struttura vetro senza paralume. Height 38cm. Large 18 cm.
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
Murano Flush Mount / Sconce by Venini
By Venini
Located in Los Angeles, CA
Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s
Measures: diameter 12 inches, height 5...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Blown Glass, Murano Glass
VENINI Chandelier Filigrana Murano Glass 1950 Italy
By Venini
Located in Milano, IT
VENINI Chandelier
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
21st Century Idria Medium Glass Vase in Indigo/Milk-White by Venini
By Venini
Located in murano, IT
The Ancient Greek water vessel sheds its skin, as terracotta gives way to glass, thanks to VENINI. Its design speaks of bygone days and rhythms, bringing them back to life: timeless ...
Category
21st Century and Contemporary Italian Italy
Materials
Glass
21st Century Satin Small Glass Vase in Tea/Crystal by Venini
By Venini
Located in murano, IT
Sheer glass is hand-blown and crafted by the master glassblowers using the sophisticated Satinatura technique, which lends it the exquisite opaque appearance to which it owes its nam...
Category
21st Century and Contemporary Italian Italy
Materials
Glass
Venini Chandelier “Toni Zuccheri “Murano Glass Metal Crome Iron, 1950, Italy
By Venini
Located in Milano, IT
Venini chandelier “Toni Zuccheri “Murano glass metal crome iron 1950 Italy.
Category
1950s Italian Other Vintage Italy
Materials
Murano Glass
Fazzoletto Opalino Large Glass Vase in Indigo/Orange by Fulvio Bianconi & Venini
By Fulvio Bianconi, Venini
Located in Brooklyn, NY
Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Fazzoletto Opalino Large Glass Vase in Red/Opaque Pink by Fulvio Bianconi
By Fulvio Bianconi, Venini
Located in Brooklyn, NY
Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Fazzoletto Opalino Large Glass Vase in Apple Green by Fulvio Bianconi and Venini
By Fulvio Bianconi, Venini
Located in Brooklyn, NY
Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Pigmenti Large Vase in Glazed Grape Glass by Venini
By Venini
Located in Brooklyn, NY
With the Pigmenti collection, Venini aims to send out a sign of renewal through the development of a classic form as the expression of a contemporary interior design accessory. PIGME...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Pigmenti Small Vase in Opaline Amethyst Glass by Venini
By Venini
Located in Brooklyn, NY
With the Pigmenti collection, Venini aims to send out a sign of renewal through the development of a Classic form as the expression of a contemporary interior design accessory. PIGME...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Deco Large Vase in Ox Blood Red Glass by Napoleone Martinuzzi
By Napoleone Martinuzzi, Venini
Located in Brooklyn, NY
Historic vase designed by Napoleone Martinuzzi in opalino glass characterized by round horizontal ribs. The model is proposed in three shades of color and in three sizes.
Rhythm" ...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Glass
Murano Glass Pendant Light by Venini, 1970s
By Venini
Located in Palermo, PA
Stunning and rare Murano ceiling lamp by Venini, 1960s.
Off-white glass with a white decor.
Details
Creator: Venini, Murano
Materials and Techniques: Brass, Murano Glass
Width...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Metal, Brass
Italian Modern Murano Glass Ratrih Floor Lamp by Ettore Sottsass for Venini 1994
By Ettore Sottsass, Venini
Located in MIlano, IT
Italian modern steel, marble and Murano glass Ratrih floor lamp by Ettore Sottsass for Venini in 1994.
Ratrih model floor lamp, with round marble base...
Category
1990s Modern Italy
Materials
Marble, Steel
21st Century 2 Level Veliero Table Lamp in Crystal / Milk-White by Tadao Ando
By Tadao Ando, Venini
Located in murano, IT
Veliero comprises 6 modular elements; the simplicity of the original square remains unchanged, and is actually enhanced by the encounter with the other elements, expressing itself in...
Category
21st Century and Contemporary Italian Italy
Venini “ Filigrana “ Murano Glass 1950 Italy
By Venini
Located in Milano, IT
VENINI Vase.
Category
1950s Italian Other Vintage Italy
Materials
Murano Glass
Murano Flush Mount / Sconce by Venini
By Venini
Located in Los Angeles, CA
Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s
Original mark on the frame
Measures:...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Blown Glass, Murano Glass
Cascade Venini Italian Midcentury Chandelier Multicolor Murano Glass Modernist
By Venini
Located in Palermo, Sicily
Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.
Category
1950s Italian Mid-Century Modern Vintage Italy
Materials
Murano Glass
21st Century Pyros Stellati Vase in Multicolour by Emmanuel Babled
By Emmanuel Babled, Venini
Located in murano, IT
Limited edition - 1 of XX
A silver leaf inserted into glass lends an unexpected precious flair to the appliqués, contrasting with the subtle hues of the base and the darker shades o...
Category
21st Century and Contemporary Italian Italy
Materials
Glass
Italian Murano Glass Vase Simira Model by Alessandro Mendini for Venini.
By Venini, Alessandro Mendini
Located in Milan, Italy
Vase model Simira filigree glass and solid glass base molded to the wheel, circa 1987- 1988. Signed.
Biography
Alessandro Mendini was born in Milan in 1931. After a long experience...
Category
1980s Italian Modern Vintage Italy
Materials
Glass
Murano Glass Chandelier Designed by Venini, Murano, 1940s
By Venini
Located in Palermo, PA
Murano glass chandelier designed by Venini, Murano, 1940s.
It is made from Murano art glass and is composed of 3 glass cones set on a brass base.
The glass is made using the techni...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Metal, Brass
Venini Original Signed 1960s Crystals Italian Chandelier
By Venini
Located in Roma, IT
Midcentury ORIGINAL modern signed Italian spiral chandelier manufactured by Venini
Marked “VENINI SAS MURANO MADE IN ITALY”
Multiple tiers of Italian Murano crystals cut into triang...
Category
1960s Italian Mid-Century Modern Vintage Italy
Materials
Crystal, Metal
Murano Glass Chandelier by Venini, 1960s
By Venini
Located in Palermo, PA
Mid-Century Modern XL Venini chandelier. The light consists 162 original Murano glass crystals on a metal base consisting of 3 tiers. A true jewel for your home.
Details
Creator:...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Crystal, Chrome, Metallic Thread
Tomaso Buzzi, Mid-Century Pink "Bullicante" Glass Chandelier by Venini
By Venini, Tomaso Buzzi
Located in Catania, CT
Great condition with no chips or cracks for this chandelier made from rare pink "bullicante" glass and designed by Tomaso Buzzi for Venini. Italy 1930s. Full working with EU standard...
Category
1930s Italian Art Deco Vintage Italy
Materials
Murano Glass
Carlo Scarpa Big “Poliedri” Chandelier in Murano Opaline Glass for Venini, 1958
By Venini, Carlo Scarpa
Located in Vicenza, IT
“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...
Category
1950s Italian Mid-Century Modern Vintage Italy
Materials
Glass, Murano Glass
Venini Chandelier Murano Glass Metal Crome, 1955, Italy
By Venini
Located in Milano, IT
Venini chandelier.
Category
1950s Italian Other Vintage Italy
Materials
Murano Glass
Venini Murano Italy Glass Green Bottle Serie “Velati”, 1981
By Paolo Venini, Venini
Located in Reggio Emilia, IT
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...
Category
1980s Italian Post-Modern Vintage Italy
Materials
Glass
Massimo Vignelli for Venini Murano Italian Glass Brass Sconces Wall Lamps, 1950s
By Massimo Vignelli, Venini
Located in Reggio Emilia, IT
Italian Mid-Century Modern design set of three scones wall lamps designed by Massimo Vignelli and produced by Venini with Murano adjustable glass diffusers and brass frame, Italy, 19...
Category
1950s Italian Mid-Century Modern Vintage Italy
Materials
Brass
Mid-Century Modern Triedri Chandelier by Venini, 1960
By Venini
Located in Albano Laziale, Rome/Lazio
Add a touch of classic Italian craftsmanship to your home with this stunning Venini chandelier from the 1960s. The octagonal shape and chrome structure perfectly complement the four...
Category
Mid-20th Century Italian Mid-Century Modern Italy
Materials
Chrome
Venini “Toni Zuccheri “ Sconces Metal Crome Murano Glass, 1970, Italy
By Venini
Located in Milano, IT
Venini sconces.
Category
1970s Italian Other Vintage Italy
Materials
Murano Glass
Italian Venini Carlo Scarpa Wall lamp 1936 Art Glass Murano Catalogo Blu
By Venini
Located in Palermo, Sicily
Italian Venini Carlo Scarpa wall lamp 1936 Art Glass Murano Catalogo Blu.
Category
1930s Italian Art Deco Vintage Italy
Materials
Brass
Cini Boeri, Set of 2 Pink glass "Chiara" Table Lamp, Venini Murano, Italy, 1984
By Cini Boeri, Venini
Located in Firenze, IT
A set of 2 "Chiara" table lamp designed by Cini Boeri.
manufactured by Venini
Murano, Italy, 1984 .
Theese pieces of design are constructed of white glass over a subtle rose layer interior...
Category
1980s Italian Post-Modern Vintage Italy
Materials
Murano Glass
Venini "Toni Zuccheri" One Sconce Murano Glass Brass Metal, 1955, Italy
By Venini
Located in Milano, IT
VENINI sconces.
Category
1950s Italian Other Vintage Italy
Materials
Murano Glass
Venini Toni Zuccheri Metal Crome Murano Glass, Italy, 1970
By Venini
Located in Milano, IT
Venini Sconces
Category
1970s Italian Other Vintage Italy
Materials
Murano Glass
Venini Monofiore Balloton Extra Large Vase in Amber Horizon Thread Murano Glass
By Venini
Located in Brooklyn, NY
Monofiore Balloton extra large vase in Amber Murano glass by Venini. It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by Venini from 1970 lies in its name: ...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Murano Glass
Venini Satin Large Vase in Horizon Crystal Murano Glass
By Venini
Located in Brooklyn, NY
Satin large vase in glazed horizon/crystal Murano glass by Venini. Sheer glass is hand blown and crafted by the master glassblowers using the sophisticated Satinatura technique, whic...
Category
21st Century and Contemporary Italian Modern Italy
Materials
Murano Glass
20th Century Carlo Scarpa Venini Lattimo Vase "a Mezza Filigrana", 50s
By Venini, Carlo Scarpa
Located in Turin, Turin
In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers".
Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...
Category
1950s Italian Mid-Century Modern Vintage Italy
Materials
Murano Glass
Pair of vintage Venini wall sconces Murano glass 1970s orange and white
By Venini
Located in Firenze, FI
Pair of vintage Venini wall sconces Murano glass 1970s orange and white.
Made by 14 prism triedri.
The total dimension is H 37 x 24 cm
Perfect condition and fully workig; normal and...
Category
1970s Italian Vintage Italy
Materials
Murano Glass
Venini Sconces Murano Glass Metal Crome, Italia, 1940
By Venini
Located in Milano, IT
Sconces Venini.
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
Venini “ Pulegoso “ Chandelier/ Cheilling Light Brass Iron Murano Glass 1940 Ita
By Venini
Located in Milano, IT
Venini chandelier.
Category
1940s Italian Other Vintage Italy
Materials
Murano Glass
Venini Chandelier Murano Glass Iron Metal Italy, 1930
By Venini
Located in Milano, IT
Venini Chandelier.
Category
1930s Italian Other Vintage Italy
Materials
Murano Glass