Venini Chandeliers and Pendants

Angelo Lelii founder of the large lighting company in the 1950s helped reform and revolutionize the world of modern lighting. This is one of the rarest and most beautiful chandeliers...

Venini chandelier with large Murano glass with gilded gold structure . The design and the quality of the glass make this piece the best of Italian design. This unique chandelier by ...

This late 1930s Venini chandelier has two rings of curved-glass elements suspended from a brass frame. It appears to glow magically from within because the glass elements are infuse...

VENINI - Murano - Elegant chandelier in pulegoso glass, from Murano, original 1930s , Art Dèco period. Pulegoso glass is a technique developed in the 1920s by Napoleone Martinuzzi at...

Chandelier by Tomaso Buzzi for Venini. Designed and manufactured in Italy, circa the 1940s. An extremely striking elegantly crafted chandelier comprising of multiple pressed glass in...

A Venini Murano glass chandelier. Cascading “triedri” prisms in both ice blue and clear glass dangle from chains attached to the flush mount canopy. Several extra prisms included. Fl...

Looking for lighting that makes an impression? This is the one! Hanging from a brass frame, a spectacular arrangement of Quadriedri Murano glass bars. We have two in stock, This one ...

Large Italian Mid-Century chandelier by Venini with dozens of rose colored handblown polyhedral Murano glasses. White frame with manufacturer’s mark still present. Nickel canopy. Co...

Monumental vintage spiral murano glass chandelier designed by Venini and manufactured in Italy, circa 1960s. This chandelier is made up of elegant solid glass prisms that are aesthet...

This large Murano brown glass drops and caramel colour crystals chandelier was made and designed by Venini in the 1960s.

Rare 1960s Murano "Champagne" blown glass lantern by Venini. Six lights.

VENINI - Ludovico Diaz de Santillana - Murano 1970 - Original LAMP from the 1970s of the 20th century. SOCKS model original and made in a few copies. Quality and perfect stasti of pr...

Exceptional Venini chandelier with large Murano Flower Rose glass with gilded gold structure. The design and the quality of the glass make this piece the best of Italian design. Th...

1960s Italian Murano glass globe by Venini.

Bellissimo lampadario disegnato da Ludovico Diaz de Santillana è prodotto da VENINI a Murano nel 1970. Modello Calza. Ci sono pochi esemplari di questo modello. Perfetto stato .

Wonderful fountain of light made by dozens of violet droplets and ice crystals. Measures: Height without chain 45 cm., width 45

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...

This stunning Mid-Century Modern chandelier was realized by the esteemed atelier of Venini in Murano, Italy- the island off the coast of Venice renowned for centuries for its superla...

Extraordinary piece in Murano glass. Handblown "reticello" glass, typical example of the renowned Venetian glassworks. Measures: Total height 78 cm. Height glass lantern: 40 cm. Larg...

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...

Good vintage condition with trace of age and use on the metal, glass with no cracks or chips. Made from Reticello Murano glass and chromed metal. Produced in Italy during the 50s. Fu...

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...

Vintage Italian chandelier or lantern with clear tree trunk shaped Murano glass tubes / Designed by Toni Zuccheri for Venini, made in Italy, circa 1960s Measures: diameter 12 inches,...

Looking for lighting that makes an impression? This is the one! Hanging from a brass frame, a spectacular arrangement of Quadriedri Murano glass bars. We have two in stock, This one ...

Mid-Century modern XL spiral chandelier by Venini – a masterpiece of design and craftsmanship. This stunning light fixture is a true jewel for your home. The chandelier consists of...

Stunning , Large Venini Triedri Chandelier Murano Glass / Chrome 1960 Italy,,A substantial square form Venini chandelier comprised of two siz...

Stunning Massimo Vignelli designed Sigaro pendant shade, made by Venini, circa 1950's. The oblong glass shade has a blue body with a polychrome tip ( like a lit cigar ). This example...

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

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...

Vintage Venini Murano Triedri Glass Prism Chandelier on a brass skeleton. Chandelier designed to stack two layers of 10" prisms above 3 layers of 6" pris...

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...

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...

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 ...

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...

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...

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...

Glamorous 1970’s Italian clear Murano glass and chrome “Tronchi” chandelier. It has two different design of prisms that are the same length (See detail photos). New wire and chain....

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

Very nice gold and clear good condition all glass prisms Camer light fixture.

Vintage 1970s Murano Venini glass chandelier. 10 lightbulbs. 5 tiers of glass. 62 pieces of glass. No broken or chipped glass. Chrome cage with ceiling cap. Tested, working order. Ac...

Italian modern glass chandelier Firenze by Ettore Sottsass for Venini, 1990s Chandelier mod. Firenze (Florence) composed of a series of...

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...

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 ...

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...

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...

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...

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...

Murano Reticello glass Flush mount by Ludovico Diaz de Santillana for Venini, Series -Tessuto-, Italy, 1970s. Hand-blown from white and clear Murano glass in spiral shape, ceiling mo...

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

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...

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...

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...

Luxurious and Spectacular Flushmount Murano Hand Blown Bubbles and Brass Chandelier designed and produced by Paolo Venini in 1960 in Italy. With an exquisite design, it is a multitu...

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...

Stunning Murano glass chandelier designed by Venini for Kalmar, 1960s Two tiers gather many structured glasses, beautifully refracting the light very heavy quality. High quality and...

“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...

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

Stunning Venini midcentury Murano Triedri Chandelier. In a very desirable whale tail form. Features glass crystal prisms on polished steel frame. Takes 7 standard bulbs. Lead wire is...