Carlo Scarpa Furniture

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

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...

Two vintage oak wood chairs by Carlo Scarpa for Gavina. Italy 1974. Excellent condition.

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...

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...

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...

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

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...

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...

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

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...

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-...

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...

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), rare 'Incamiciato' vase, ca. 1930 amber-colored glass, opaque white underlay; base and mouth are transparent amber; spherical shape on a cylindrical stand. ...

Vase red. Design Carlo Scarpa Provenance Pauly & C. Murano glass ca. 1960-70 height ca. 26,5 cm diameter ca.: 19,8 c Condition: Very good.

Vase "nero irridato". Design Carlo Scarpa Provenance Pauly & C. Murano glass ca. 1960-70 Vase red Design Carlo Scarpa Provenance Pauly & C. / CVM Murano glass ca. 1960-70. height ca....

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

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. ...

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...

Carlo Scarpa Black Leather “Kentucky” Dining room Chairs for Bernini, Italy 1977 "Set of six model 783 "Kentucky" dining room chairs, designed by Carlo Scarpa for the Italian manuf...

**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...

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

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the ma...

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...

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

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...

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

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...

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

"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...

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...

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...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure velvet by JAB. Fully restored in Italy. Born in Ven...

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...

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...

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

Table in black Carrara marble by Carlo Scarpa, with art shaped top glass, Italy circa 1970 in perfect and original conditions. Two different way to place the base. Dimensions: with t...

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

Inspired by nature and designed by Carlo Scarpa, it turns into Battuto a Nido D'Ape only in the hands of master glassmakers, who skilfully shape glass into a honeycomb pattern using ...

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 (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 ...

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...

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

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...

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...

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 ...

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

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

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

Carlo Scarpa (1906- 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Profes...

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

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

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

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

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

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...

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