Carlo Scarpa Furniture

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by the in...

A 'battuto' glass vase by Carlo Scarpa for Venini, circa 1940 Acid-stamped venini murano ITALIA 33 cm in hight Excellent condition see christies 933822 (58750$) Literature: Ba...

Carlo Scarpa for Bernini, set of twelve bicolor dining chairs, model '765', walnut, black and brown leather, designed in 1934, production in 1970s These well-proportioned chairs wer...

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 ...

Carlo Scarpa for Bernini, library or wall unit, model '795', walnut, metal, Italy, design 1935, edition made in 1980s Stunning library designed by Carlo Scarpa for Bernini. This wal...

Carlo Scarpa for Venini 1930, signed „murano italia“ Transparent glass in red with a base and 2 side applications of glass paste with gold. Excellent Condition

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Carlo scarpa.

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

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa in...

Superb 50's chandelier by Italian manufacturer Venini and designer Carlo Scarpa. Metal structure stamped "Murano, made in Italy". Diffusers composed of transparent and pink Murano gl...

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...

Pair of large sconces designed by Carlo Scarpa for Venini.

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 Scapa for Venini, signed Small bowl from the corrosi series made of dipped glass, the surface of which has been completely treated with acid. Venini Murano acid signature Dim...

Carlo Scarpa for Venini 1906 - 1978 “Pennellate” vase, 1942 Carlo Scarpa for Venini “Pennellate” vase 1942 While the world was at war in 1942, Scarpa and Venini produced a rare ser...

Carlo Scarpa for Bernini, library or wall unit, model '795', walnut, metal, Italy, design 1935, edition made in 1980s Stunning library designed by Carlo Scarpa for Bernini. This wal...

Carlo Scapa for Venini, signed Small bowl from the corrosi series made of dipped glass, the surface of which has been completely treated with acid. Venini Murano acid signature Dim...

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, 'Murrina del serpente' bowl, 1940 Carlo Scarpa (1906-1978), 'Murrina del serpente' bowl, 1940 stylised serpent design in black, white and red with opaque murrine, cut s...

Murrine opache plates, designed by Carlo Scarpa and manufactured by Venini, are available in four different versions. handmade glass with “murrine” technique. Numbered edition per ye...

Chandelier VENINI ,originale di Carlo Scarpa. Murano glass 1950

Carlo Scarpa "Samo" oval table for Simon Gavina, granite, Italy, 1971. The Scarpa's way of thinking the architecture is particularly visible in this piece. The “Samo” dining table designed in 1971 for 'Ultrarazionale' collection by Simon Gavina consists of two grooved solid granite pillars...

Mid-Century Modern Travertine Dining Table by Carlo Scarpa, 1970s

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...

Carlo scarpa. Suspension lamp from the Poliedri series. "VENINI" production the chandelier will be sold with about 6 spare parts.

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

Carlo Scarpa. Rare decororated fenicio vase, model 2948 by MVM Cappellin. Italy, 1928-29. Lattimo glass with iridized surface. 6-point-pontil. 26 ×13 cm. Very good condition, signe...

SPLENDID COUPLE CENTER TABLE in emerald green glass pulegoso and gold brushstrokes signed in acid Venini MURANO in very good condition....

A large 1950s hexagon shaped Poliedri ceiling light. Clear and pale blue and amatyst Poliedri glass components. White lacquered metal structure. Italy design by Carlo Scarpa for Ven...

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 ...

Carlo Scarpa Orseolo Table For Cassina A modern table but, above all, an absolute masterpiece and unsurpassed model of formal beauty, inspired by...

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

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. 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 was 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 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 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 incredible 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 renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near 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, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 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 carried out simultaneously 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, arising 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 that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central 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 his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects 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 a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

**Kentucky** is a chair born from the collaboration between Carlo Scarpa and the company Bernini. It features an apparent formal simplicity that, in reality, reflects a highly comple...

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.

All the rigor and geometry of the great Italian designer Carlo Scarpa are expressed in this splendid and rare set of 6 wooden chairs made for Gavina in the early 1970s. An essential...

Mid-Century Murano Glass Chandelier "Polyhedr" by Carlo Scarpa for Venini, Italy, 1960

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

Model "Samo" table oval slab of clear glass on travertine frame designed by Carlo Scarpa made by Simon in Italy around 1970. Particular version made with natural beige travertine, a...

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...

"Battuto" vase by Carlo Scarpa for Venini, 1940, Italy Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect and designer. He was influenced by the materials, lands...

Pair of wall lights with four lightpoints, Poliedri model designed by Carlo Scarpa, edited by Venini. Composed by Murano crystal pieces over a structure made in white lacquer metal. ...

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

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...

Rare deep red cased and iridized glass, bowl complete with stubber (cendrier / ashtray), designed by Carlo Scarpa (1906-1978) circa 1942, for Venini, with acid stamp on its underside 'Venini Murano MADE IN ITALY' From 1933 to 1947 Scarpa became the artistic consultant to Venini from 1933 to 1947 the glass manufacturer, one of the great celebrated glass works in the history of design. Carlo Scarpa’s highly inventive use of traditional Murano techniques resulted in this original sculptural and sensually formed crimson dish companied by its pestle. Scarpa's success was to look to the past with an innovative approach towards technique and creativity giving birth to the avant-garde. • Literature A Focused Obsession, Modern Italian Glass- The Martin Cohen Collection Helmut Ricke, Eva Schmitt, 'Italian Glass Murano: Milan...

Murrine Opache plates, designed by Carlo Scarpa and manufactured by Venini, are available in four different versions. Handmade glass with “murrine” technique. Numbered edition per ye...

Carlo Scarpa (1906-1978), 'A Bugne corroso' vase, ca. 1936 model no. 4100 cylindrical with nubs, flashed glass, uncoloured and green, etched in a technique reminiscent of ice-glass (...

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...

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, 'Battuto' vase, 1940. Execution: Venini & C., Murano. Height 19.5 cm. The Venini’s artisans crafted this masterpiece from colorless glass with a striking blue underla...

Fabulous original Venini Poliedri chandelier by Carlo Scarpa. Rare combination of light pink and Ice colored Murano glass. Chrome frame in very good original condition. Available ...

An innovative designer with a passion for experimentation, Carlo Scarpa turned this work into the utmost expression of his artistic and artisanal knowledge. The linearity of glass me...

Large Poliedri wall lamps designed by Carlo Scarpa in 1958 for Venini glassworks. 4 wall sconces available. Painted metal frame, blown glass in transparent and smoky tones, in the ra...

Carlo Scarpa, Cornaro 140 armchair in ash wood, made for Gavina, Italy, 1973 This is one of the rarest and most fascinating versions of the famous sofa created by Carlo Scarpa, whic...

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...

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

Carlo Scarpa (1906-1978), 'Battuto' bowl, draft ca. 1940 overlay glass, colorless and olive green, battuto surface, horizontal line engraving in the upper part produced by Venini & C...

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 ...

This luminous modernist glass chandelier features numerous handblown Murano translucent glass polyhedral shades. Each glass polyhedral shade...

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...

Model Poliedri chandelier, design Carlo Scarpa, manufactured by Venini, 1960s. Murano glass with painted iron and metal frame. Good vintage condition, patina and minor wear consisten...

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...

Exquisite pair of authentic Venini wall lights by Carlo Scarpa. Model 'Poliedri'. c1960 Mix of pink and smoke glass. *** These are original 1960s blown glass lights... Not recent!

Carlo Scarpa for Bernini, set of twelve bicolor dining chairs, model '765', walnut, black and brown leather, designed in 1934, production in 1970s These well-proportioned chairs wer...

It's striking 1990s gold-plated square tray designed by Carlo Scarpa for Cleto Munari. The tray showcases Scarpa’s signature architectural and geometric aesthetic, featuring a sharp-...

L (cm) 5 Epoca Anni '40 Provenienza Venezia Artista Carlo Scarpa Manifattura adriatica Venezia Materiale Vetro di Murano Categoria Murano.

Carlo Scarpa (1906-1978), large 'battuto-velato' vase, 1940 wheel-carved glass, battuto -velato surface produced by Venini & C., Murano, Italy 30 cm (height) signed with two-line aci...

Cornaro living room set is composed of a two-seater sofa with two armchairs, a frame in lacquered wood seat, and a back in padded fabric, with leather ties. Designed by Carlo Scarpa...

Set of 2 Poliedri wall sconces, design by Carlo Scarpa for Venini, Italy, 1950. Elegant wall sconces composed of Poliedri elements made of blown crystal glass, arranged on several le...

Chandelier By Venini Carlo Scarpa 1950 Poliedri

Carlo Scarpa, 'Battuto' vase, 1940 Hand-blown glass, battuto surface produced by Venini & C., Murano, Italy 24 cm (height) signed with two-line a...

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...