Venini Furniture

It was back in 1958 when the chandelier triumphed at the Brussels Expo, at the center of the Italian pavilion. Since then, its infinitely glittering appearance of polyhedrons continu...

Incredible pair of Venini sconces in Murano glass circa 1950.

A pair of hand-blown red no. 011.11 glass pendants designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venini. One of...

Spinzi is a Milano based creative atelier specialised in furniture design as well as sourcing and trading relevant mid-century collectible design. Check out our storefront and websit...

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 ...

Paolo Venini for Venini rare apothecary jar or vessel in red and mauve blown glass. This classic and elegant vessel comes from a series designed by Paolo Venini in 1959 inspired by ...

Hand blown frosted glass, chromed metal.. *2nd matching pendant available.

Italian mid century modern light pink and yellow polyhedral elements glass Poliedri chandelier or ceiling lamp by Carlo Scarpa for Venini, 1958. Glass chandelier, suitable as a ceili...

A large Venini flush mount or pendant attributed to Ludovico Diaz de Santillana, Series -Tessuto-, Italy, 1960s. Hand blown from white and clear Murano glass in conical shape, brass ...

This large white blown glass pendant lamp was designed by Massimo Vignelli for Venini in the 1960's. It was made in 2 sizes with a height of 35 cm and 51 cm. This lamp is the large a...

A timeless beauty of Murano glass. This opulent chandelier, a masterpiece, was artfully crafted by Venini in 1960. Its grandeur is composed of 60 meticulously handcrafted Murano glas...

Unique hand-blown glass pendant by Italian glass artist Toni Zuccheri. The pendant is part of the Membrana series from circa 1966-1968. This extra large globe from Murano glass is su...

Elegant Mid-Century Tronchi chandelier made in Italy, designed by Toni Zuccheri for Venini, in the 1960’s. Featuring 28 stunning murano glass cylinder, (Each glass is 10in L” by 2.5i...

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...

This object is a piece of extreme quality and design made of murano glass by designer TYRA LUNDGREN for VENINI, a collector's item for a connoisseur.

Rare Murano glass liquore set in red and black color. Designed by Napoleone Martinuzzi for Venini in the 30s. In good vintage condition with minor signe of use and age. Dimentions:...

This yellow glass cylindrical pendant lamp was designed by Massimo Vignelli for Venini in the 1960's. It was made in 2 sizes with a heig...

Wall mirror Venini 1940s photo frame parts in brass, it can be used as a wall mirror or wall photo frame according to your choice.

Coletto by Ludovico Diaz de Santillana – Centerpiece blown Murano glass Coletto by Ludovico Diaz de Santillana, centerpiece blown Murano glass. Large centerpiece in blown Murano glas...

Mid-century chandeliers by Venini made with their iconic poliedri Murano glasses. The glasses are a mix of light rose and clear mounted on a white lacquered frame holding seven E12 c...

Beautiful vintage Murano hand blown white and black stripes optic swirl Italian art glass bowl or vide-poche. The bowl has been documented to designer Fulvio Bianconi, for the Venini...

Occhi by Tobia Scarpa – Quadrangular shaped vase “Occhi” vase by Tobia Scarpa. Quadrangular shaped vase from the occhi series. Made up of an arrangement of white and clear glass murr...

The beautiful white Murano glass ceiling or wall lamp Vetry Murano 022 by Venini was made in Italy in the 1970s. Can be used as a ceiling or wall lamp. The electrical system is fully...

Large Venini Murano Glass Chandelier $12,500.00 Large Murano glass chandelier by Venini from the 1960s. Its composed of several colorless hand blown ribbed glass sections that come t...

Beautiful small hanging lamp or lantern from Venini glass production in Italy in the 1950s. The glass is handmade and has regular white-blue stripes and a very nice shape. The color...

Set of Three pendants mod. 4041 in light blue etched Murano Glass designed by Massimo Vignelli and produced by Venini since 1954. Perfect condition, original electrical system and or...

Venini chandelier murano glass, 1930, Italy.

Pair XXL Venini Wall Chandeliers with Murano Amber and Ice Glass, Italy 1960 We're selling a pair of gorgeous Venini Wall chandeliers from the 1960s, each featuring hand-blown Murano glass in amber and ice tones. These Italian-made lamps are ideal for any space, from midcentury to Hollywood Regency. Choosing Mid-Century Lighting is a sustainable and eco-friendly option that breathes new life into a quality product with a rich history. The signs of wear add character and tell a story of the previous owner's life. These elegant lights are compatible with US/UK/ASIA standards and LED lighting, featuring three E27 sockets. We've cleaned and wired them for immediate use, and the frames are in excellent condition, with a minor patina on the metal parts. You can easily disassemble the sconces for transport, and each glass piece can be wrapped individually. They measure 38 cm in width, 20 cm in depth, and 80 cm in height. Make a statement in your space with these delicate yet beautiful lights. - Priced for a pair of two wall lights...

MiCarlo Scarpa Poliedri Chandeliers for Venini, Murano, Italy, 1960s. We have two exquisite mid-century Venini Murano glass chandeliers for sale, designed by Carlo Scarpa in Italy...

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

Indulge in the timeless elegance of this remarkable pair of Venini Tronchi wall lights, expertly crafted by the talented Toni Zuccheri during the 1970s. These captivating sconces fea...

Exceptional 1940 chandelier. Murano Venini. Amber red borders.

A large 1960s Italian Venini Murano glass shaded brass arc lamp, with barley twist brass stem mounted on a black lacquer base. Re wired with antique gold cord flex, switch and PAT te...

Venini Desk or Table Clock

A cylinder shaped amber coloured pendant designed and produced by glass specialist Venini. This model is designed in the 1950s, but this is a more recent production. The lamp i...

Centerpiece VENINI.

Pair of Murano Glass Sconces by Toni Zuccheri For Venini. This beautiful pair of Italian mid-century sconces have been newly wired with new sockets for the U.S. market.

Vintage Italian chandelier with clear and gold Trilobo glasses suspended from white metal ceiling plate. Made by Venini, Italy, c. 1960's. Dimensions: 61"H x 10"D

About the Pezzato arlecchino bottle shaped vase by Fulvio Bianconi Mouth-blown vase, the model designed in 1950. This color variant is often called “Arlecchino” by collectors. It i...

The unique Murano chandelier Calla or Lily by Venini was made in Italy in the 1960s. Beautiful chandelier with glass flowers that seem to fall from a chrome stand. This lamp with its...

“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...

Toni Zuccheri's design for Venini's chandelier in the late 1960s is truly remarkable. The combination of Murano glass, brass, and chromed steel creates a stunning visual effect that ...

This striking esprit chandelier was produced by Venini during the 1970s. Explosion of flowers, made with amber and clear precious Murano glasses. C...

Venini chandes.

Mid-Century Modern chandelier by Venini. 42 Murano glasses set on a metal base consisting of 2 tiers. The light has 7 bulbs. Details Creator: Venini, Murano Dimensions: Height...

The elegant Murano glass chandelier made in Italy in the 60s. Designer Toni Zuccheri for Venini & Co. Venini & Co. played a leading role in the revival of Italy’s high-end glass indu...

Suspension lamp with metal structure and modular elements in Murano glass from the Elica series. Designer Toni Zuccheri. Signed. Produced by Venini, Italy, circa 1960. Biography To...

A hand blown glass globe / sphere with stunning reticello glass design, wiith brass stem and canopy. Designed by Carlo Scarpa for Venini, circa 1940. A c...

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

Blown glass, brass. Internally decorated blown glass shade. Brass mounts and 1 x E26 socket.

VENINI table lamp

Early examples of this rare form. Hand blown glass in the incalmo technique; one in a clear, blue and red banded design, the other blue, clear and purple. The incalmo process, first ...

Lampada da tavolo Venini Misure solo della struttura vetro senza paralume. Height 38cm. Large 18 cm.

Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s Measures: diameter 12 inches, height 5...

VENINI Chandelier

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 ...

Napoleone Martinuzzi, Bassotto Giallo (Yellow Dachsund) sculpture, white & gold Venini Murano 1930 Exceedingly rare example of a signed Venini large-scale Dachsund Dog Sculpture by N...