Venini Serveware, Ceramics, Silver and Glass

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

Centerpiece VENINI.

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...

“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...

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 ...

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.   

Clessidre Hourglass, designed by Paolo Venini and Fulvio Bianconi, was originally designed in 1957. Available in different colors, the grey / mint green version is a limited edition ...

Vintage Venini Murano martini ice cube container in light blue, white & transparent wine cooler, ice bucket made in Italy 1970. No Makers Logo, Venini ...

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/...

Murano 1940s round glass vanity wall mirror surmounted by thick finely twisted blown glass with brass straps by Paulo Venini. The mirror has a newer wood ...

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...

Article: Murano glass bowl, ashtray element Producer: Venini glass, murano Origin: Murano, Italy Decade: 1970s This original glass shell bowl was produce...

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...

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...

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 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...

Vintage Acco vase by Alessandro Mendini for Venini, Murano 1997 A vintage art glass vase of the Acco series designed in 1988 by Alessandro Mendini for Venini, Venice. White opaque glass with a colorful overlay in red and a clear glass finish. With incised signature 'venini 97 A. Mendini' on the base and company lable on the body. A great example of the 1980s Italian Memphis Design. 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...

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

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...

Small dish in green glass, Venini Murano ca. 1930s A small glass dish in transparent green glass, most probably designed by Carlo Scarpa. Manufacture...

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 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...

“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...

Article: Murano glass bowl element Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s These original vintage glass element was designe...

Article: Murano glass bowl element Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s These original vintage glass element was designe...

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 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" .

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

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...

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...

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...

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...

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

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

Gorgeous and very large, vintage Murano hand blown pink, opaline white and gold flecks Italian art glass sculptural handkerchief Fazzoletto flower vase. Documented to designer Fulvio...

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...

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...

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

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...

Article: Murano glass bowl elements set of 2 Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s These original vintage glass elements ...

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...

This small ashtray was designed by Pierre Cardin for Venini in the 1960s. It is executed in electric blue with an orange stripe. Engraved signature "Ven...

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...

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

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...

Article: Murano glass bowl, ashtray element Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s This original glass shell bowl was produce...

Incisi glass vase collection, designed by Paolo Venini and manufactured by Venini, feature an engraved surface. Originally designed in 1956. Numb...

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

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...

Striking art glass vase ice bucket by Venini for Disaronno. Beautiful amber glass with a white striped drizzle.

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 Fazzoletto vase in green and light green opaline glass with clear glass overlay. It was manufactured in 2015 by Venini, Venice after a design of Fulvio Bianconi. On the base there ...

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...

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

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...

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" ...

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...

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 ...