Carlo Scarpa Furniture

Carlo Scarpa (1906-1978), bowl model 'Battuto', 1940-42 hand-blown glass, battuto surface produced by Venini & C., Murano, Italy 16 x 10 x 10 cm signed with four-line acid stamp to ...

Carlo Scarpa Doge laguna Table For Cassina Cassina celebrates the induction of Carlo Scarpa into the iMaestri collection with a limited edition of 5...

Variegati zigrinati by Carlo Scarpa for Venini 1938 Variegati zigrinati by Carlo Scarpa 1938. one of the very rare pieces, signed Venini Murano. Only Olnick Spanu has one of these. ...

Elegant sommerso a bollicine Murano glass bowl, designed by Carlo Scarpa for Venini. Hundreds of air bubbles in the case glass form create a light-catching...

Large Poliedri wall lamps designed by Carlo Scarpa in 1961 for Venini glassworks. Painted metal frame, transparent blown glass, in the rare version consisting of 48 polyhedra, excel...

Fabulous original Venini Poliedri chandelier by Carlo Scarpa. Rare combination of light pink and Ice colored Murano glass. Ivory p...

Carlo Scarpa (1906-1978) Art Deco Glass Table Mirror handworked in twisted colourless Murano glass, the spiral design known as “a treccia” after its resemblance to a braid. The glass frame lined with a brass band, secured with a pierced trapezoid clip to the wooden back-plate, with brass folding...

Samo table designed by Carlo Scarpa in Carrara marble. Two layered pillars as legs. Oval thick tabletop. Bibliography: Fondazione Scientifica Querini Stampalia, “Dino Gavina, col...

"Battuto" vase By Carlo Scarpa for Venini, 1940, Italy Carlo Scarpa considered him one of the great Italian designers worldwide, occupying a key position in the evolution of his fam...

CARLO SCARPA (1906-1978) A RARE 'LATTIMO AURATO' VASE, CIRCA 1934 produced by Venini, hand-blown glass with gold foil inclusions 20 cm. high. 2 line acid stamp. Unfortunately the si...

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

In these murrineworks, purity of form and essential geometry blend together to create rare, precious and timeless objects, just like the art of ancient Rome. In his quest for new gla...

Carlo Scarpa (1906-1978), 'A Puntini' vase, 1942 15 x 15 cm signed with two-line acid stamp 'venini murano' Excellent condition LITERATURE different examples of the series reference...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Fabulous original Venini Poliedri chandelier by Carlo Scarpa. Rare combination of light pink and Ice colored Murano glass. Ivory p...

Murano Glass Mirror by Carlo Scarpa for Venini, Italy, 1930s

A very beautiful and original pair Murano chandeliers designed by Italian architect and designer Carlo Scarpa for Venini Murano. Each with 9 lights. Beautiful design where the advanc...

Early edition ‘Doge’ dining table by Carlo Scarpa for Simon*, Italy 1968. This table comes from the Ultrarazionale series and has become an icon of Italian design. Within this series...

Big Carlo Scarpa Venini Murano glass vase "Battuto" series acid signed cm 33.5.

In these murrineworks, purity of form and essential geometry blend together to create rare, precious and timeless objects, just like the art of ancient Rome. In his quest for new gla...

The “Florian” coffee table was designed by Italian architect and designer Carlo Scarpa in 1973 for Simon. The table features a heavy, transparent glass top resting on a removable base crafted from extra-thick brushed steel, showcasing Scarpa’s attention to materiality and structural clarity. Its minimalist design and precise detailing reflect Scarpa’s architectural...

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

Pair of model lamps "Poliedri" designed by Carlo Scarpa and edited by Venini, with structure in lacquered metal and Murano glass, Italy, 1950s. Enhance your space with a touch of mid-century elegance with this pair of Poliedri lamps...

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cushion is fast...

The Serie 1935 bookcase was designed by Italian architectural master Carlo Scarpa, a work considered at the time to be extraordinarily innovative in both form and construction. This ...

A fine Italian Mid Century Modern glass "Mezza Filigrana" vanity mirror designed by, Carlo Scarpa for Venini. The mirror frame is internally decorated with pink lattice decoration an...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. 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, Carlo Scarpa 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 that stands on the Grand Canal banks, 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, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows 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 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 most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – 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 the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider 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, working on the Carlo Felice Theatre in Genoa and 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 started 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 eight 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...

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

Rare table model Mexana 154 by Carlo Scarpa for Simon Gavina, designed in 1970s. This table stands out for its combination of elegance, functionality, and craftsmanship. The design i...

Carlo Scarpa Sarpi Table For Cassina Carlo Scarpa designed this design table in 1974, successor to the popular Doge, with which it appears in the ...

"A puntini 1938“. Carlo Scarpa for Venini- special edition casino venice Carlo Scarpa (1906-1978), 'A Puntini' vase, 1937 produced by Venini & C., Murano, Italy 15 cm (height) signe...

ECCEZIONALE LAMPADA DA TAVOLO IN VETRO DI MURANO...DEL 1940 DELLA VENINI CARLO SCARPA.. PROVENIENTE DA UNA VILLA SUL LAGO DI COMO..... in ottimo stato.

Vintage small vase green, burgundy and white runoff inlay in a form of amphora, design Carlo Scarpa Fratelli Toso Murano Murrine Millefiori. Murrine...

Stone and wood console Model 'Valmarana' by Carlo Scarpa for Simon - Italy 1972.

Carlo Scarpa Dining table model “Quatour” Manufactured by Simon Gavina Italy, 1974 Walnut wood Measurements: 141 cm x 141 cm x 72 H cm 55.9 in x 55.9 in x 28 H in. Litera...

Artist/Designer; Manufacturer: Carlo Scarpa (Italian, 1906-1978); Venini (Italy) Marking(s); notes: three line acid stamp; circa 1945 Materials: glass Dimensions (H, W, D): 3.5"h, 13...

An exceptional and unique Murano glass pumpkin, designed by the young Carlo Scarpa during his early collaboration with M.V.M. Cappellin Glassworks...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

12 Light chandelier designed by Carlo Scarpa for Venini , Model 99.37 in Murano Italy. This Chandelier originally designed in 1940 was manufactured in 2009. All the pieces are in ...

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

Vintage oval dining table designed model Samo, by Carlo Scarpa and Manufactured by Simon, Italy 1970s. Light grey granite dining table with o...

Extending dinning table by Cardin, Italy, circa 1950.

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

Venini Battuto bicolor vase in light green/red by Carlo Scarpa. Numbered Edition. Blown handmade glass, realized with the “Incalmo” technique, then cut....

Carlo Scarpa 'Mezza Filigrana' Vase, c. 1934 Execution: Venini & C. Cased glass, white. Signed: Venini murano (acid stamp). Measure : H : 18 cm (...

Valmarana model table, made entirely of wood with a light finish and a rectangular top, composed of two lateral shoulders that act as legs that are positioned at the head of the tabl...

Venini Serpente plate in black/coral red by Carlo Scarpa. Numbered Edition. Blown handmade and cut glass plate with the “Murrine” technique. Color: ...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Poliedri ceiling chandelier designed by Carlo Scarpa in 1958 for Venini glassworks. Nickel-plated brass frame , transparent blown glass elements in shades of yellow, pink and blue, ...

"Kentucky" chair by Carlo Scarpa for Bernini, 1977 The Kentucky chair is the result of an extraordinary collaboration between Carlo Scarpa and the Bernini company, and is a perfect ...

Around 1930 Gio Ponti gave Paolo Venini some sketches for glass obelisks. Shortly thereafter Carlo Scarpa designed for Venini a torqued obelisk in transparent diamante glass -- so na...

Venini Murrine Opache plate in coral/black by Carlo Scarpa. Numbered Edition. Handmade glass with “murrine” technique. Color: Coral/Black Technique:...

Pair of Murano Glass "Poliedri" Wall Sconces by Carlo Scarpa for Venini, 1960s

Carlo Scarpa's Samo Table is made of white marble. The legs are seated by a single block with grooves and thick oval top. If you belong to the ‘Ultrarational’ series, this item is on...

Poliedri 951.27 APPLIQUE CR Additional Information: Color: Crystal Light Source: 2 x max 8W LED E14 Finishes: Chrome metal Dimensions: W 27 x D 27 x H 39 cm.

Tessuti Battuti vases, designed by Carlo Scarpa and manufactured by Venini, feature a blown handmade glass body with bicolored “Filigrana” stripes then...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

A Cast iron industrial elements, converted in a console, iron shelves with cut glass top. Italy 1950 ca.

Exceptional Carlo Scarpa Chandelier in Warm Colors.....BGM

Battuto A Nido D’ape glass vase, designed by Carlo Scarpa and manufactured by Venini, was originally designed in 1940. Numbered edition per year. Indoor use only. Dimensions: Ø 23...