Venini Furniture

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...

Vase in thick transparent glass, one side of the vase decorated with a "stain" forming an abstract design (macchie means stain in Italian), this stain is dark in color, on the other ...

Venini chandelier Murano glass metal crome, 1950, Italy.

Table lamp by Venini. Designed and manufactured in Italy, circa 1950. Table lamp with cylindrical frosted glass shade, and deep royal blue stoneware ba...

Pair of wall sconces by Venini, attributed to Toni Zuccheri. 73.5 cm by 20.5 cm 37.5 cm by 37.5 cm Not perfect workmanship as pictured Good conditions. Thank you

Very Large Murano Glass And Gold Applique 1950s

Hand blown turquoise glass pendant designed by Massimo Vignelli at the start of his impressive career in design and produced by Murano glass specialist Venini. This model was made i...

A vintage large drum cylindrical shaped Poliedri chandelier. Pale green, blue and clear color Poliedri glass components on one silver lacquered metal structure designed by Carlo Sc...

Very large Cipolla pendant, white with subtle blue stripes, designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venin...

Fulvio Bianconi for Venini Fasce Orizzontali large bottle model 4315 in transparent blue green glass decorated on the body by two horizontal bands in opaque red and on the neck by a ...

Handkerchief ''zanfirico'' bowl/vase attributed to Fulvio Bianconi for Venini, Murano. This fazzoletto bowl features zanfirico glass with lattimo white netted vertical cane and whit...

Handkerchief ''zanfirico'' bowl/vase designed by Fulvio Bianconi for Venini, Murano. This fazzoletto bowl features zanfirico glass with lattimo white netted vertical cane and white ...

Charming pair of Venini wall lights in clear decorated glass, peculiar pink details and craftsmanship. Very rare pair. Marked Venini in the brass. Italy, 1950s

Hand blown Italian Murano glass pendant no. 011.11 designed by Massimo Vignelli and executed by Murano glass specialist Venini. Original example with brass hardware, circa 1955. Grea...

Pair Mid Century Venini Handles Brass Satin and Murano Glass 1950s Made in Italy

Pair Mid Century Venini Handles Brass Satin and Murano Glass 1950s Made in Italy

Handkerchief bowl/vase designed by Fulvio Bianconi for Venini, Murano. This fazzoletto bowl features zanfirico glass with lattimo white netted vertical cane and light blue ribbons, s...

Ciotola Carlo Scarpa Venini, Murano Italy, 1950 Vetro "Filigrana" Rosso Perfette condizioni

Two white handkerchief vases/bowls, featuring zanfirico filigree glass from Venini, Murano. These Venetian glass vases/bowls showcase delicate ...

Chandelier Venini model Tony Zuccheri Murano glass, 1950.

Set of rectangular shaped brass wall lights with its original etched and frosted front glass panel and glass rods encasing its sides. Illuminated with one candelabra light bulb u...

Venini Murano Flush Mount / Wall light from the Bambù series, made in Italy in the 1950s. Midcentury Large Venini Murano Flush Mount / Wall light from the Bambù series, made in Ita...

Square Venini Murano Flush Mount / Wall light from the Bambù series, made in Italy in the 1950s. Midcentury Square Venini Murano Flush Mount / Wall light from the Bambù series, mad...

Large Square Venini Murano Flush Mount / Wall light from the Bambù series, made in Italy in the 1950s. Midcentury Square Venini Murano Flush Mount / Wall light from the Bambù serie...

Pair of large Venini handles in Murano glass Torcello and Brass 1940s orange inside center

Outstanding three tiered rippled Murano glass chandelier by Venini.

Set of two pendant lamps manufactured by Venini. Yelllow and Brown canne decoration on blown opaline glass. Brass frames. The lamps were also shown at "ITALIA CINQUANTA Moda e Design...

VENINI Filigrana Chandelier 1958. Height of the glass bowl only 28cm..

Large Italian Mid-Century chandelier by Venini with dozens of handblown Polyhedral Murano glasses. The glasses are a mix of amber, rose and blue hanging from a satin nickel frame. C...

Step into the refined world of 1950s elegance with this exquisite pair of wall lights, crafted by the renowned Venini, a name synonymous with timeless artistry. These wall lights are...

Here is an exquisite 1950's small Venetian green & yellow glass "Fazzoletto" (handkerchief) vase. Made on the island of Murano, near Venice, Italy, by famous manufacturers Venini, de...

Set of six glasses (plus 1) in multicolored Murano glass, made by Venini in the 1950s. Each glass is signed at the base. Ø 7 cm h 21.5 cm

Here is an exquisite 1950's small Venetian white glass "Fazzoletto" (handkerchief) vase. Made on the island of Murano, near Venice, Italy, by famous manufacturers Venini, designed by...

White "filigrana" murano glass bowl. Venini, 1950s Perfect condiction.

Incredible VENINI Murano glass tall "filigrane" vase circa 1950.

This beautiful ocean blue Murano glass table lamp, model 'Fungo', was designed by Massimo Vignelli for Venini in Italy in the 1950s. It was in ...

Venini centerpiece Murano glass, 1950, Italy.

Incredible large VENINI Murano glass gray, black and gold circa 1950 vase.

ezed vase Fulvio Bianconi Venini & C. 1951 H 22 cm diam. 15.5 cm 1951, IX Milan Triennale Letteratura: Murano Milan Venice GlasDie Neue Sammlung - The Design Museum 2010, p. 136 ...

Venini Empty pockets murano glass 1950 Italy.

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...

Iconic set of three Sigaro pendant lamps, designed during the collaboration between Massimo Vignelli and Venini in 1956. The lamps are made of lattimo glass with multicolored bands o...

Largest size pendant in white, tan and orange fasce glass. Early example is in pristine condition.

Incredible pair of Venini sconces in Murano glass circa 1950.

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 ...

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...

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.

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...

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 ...

Venini Desk or Table Clock

“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...

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...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

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

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/...

Wonderful 1950s single hand blown Italian exterior sconce by Venini. Soft white glass shade with a red and brown stripe with steel and brass hardware....

VENINI Vase.

Italian Mid-Century Modern design set of three scones wall lamps designed by Massimo Vignelli and produced by Venini with Murano adjustable glass diffusers and brass frame, Italy, 19...