Venini Chandeliers and Pendants

Venini chandelier Murano glass metal crome, 1950, Italy.

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...

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...

Chandelier Venini model Tony Zuccheri Murano glass, 1950.

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...

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...

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...

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...

“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...

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

Outstanding three tiered rippled Murano glass chandelier by Venini.

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

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Venini chandelier.

Spectacular vintage Italian Venini Murano glass chandelier made of hand blown opaline and cream glass with 23 carat "polvero d'oro" throughout (gold leaf flecks). Exceptional quality...

Venini chandelier in partly frosted clear glass with six lights emerging from scroll arms; linear stem, six leaves pointing upward. Piece of great refinement. In the background works...

Venini chandelier.

Rare and early set of three Paolo Venini midcentury pendant lamps of slightly iridescent and textured Murano ice glass, Italy circa 1950s. The large lights...

“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...

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...

Venini chandelier.

Carlo Scarpa Murano Glass Poliedri ceiling lamp for Venini in yellow and Grey, Italy 1950s.

Classic Venini Murano dark orange and white, cased glass pendant chandelier. Very elegant UFO-"disco volante" shape. Height can be adjusted to desired length.

Venini Chandelier.

Hand blown white and red glass pendant no. 011.11 designed by Massimo Vignelli at the start of his impressive career in design and executed by Mura...

Venini chandelier Murano glass iron, 1950, Italy.

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

Venini chandelier, 1950s. Dimensions: H= 96 cm; D=50 cm.

Murano glass chandelier decorated in reticello glass, made by Venini Glass and Att. to be designed by Carlo Scarpa. An elegant spherical design with br...

Italian ceiling ball chandelier venini yellow brass chain, Italy, 1950s.

Murano glass Venini chandelier - Italy 1950s

Rare example of a Murano glass and brass chandelier, produced by Venini in the 1950s. Twenty-two curved arms in Murano crystal. Four E27 bulbs.

Venini, Italy 1950's A blown clear glass lantern with delicate woven spiral patterns in colored Zanfirico glass; nickeled mounts Measures: 12 diameter x 38 height ( Height can be a...

VENINI “Poliedri “ Carlo Scarpa Murano glass iron 1955 Italy.

Venini Chandelier.

Venini ceilling light.

VENINI “Toni Zuccheri “ Chandelier Murano glass metal crome iron 1950 Italy.

Stunning glass chandelier by Venini. 19 rows of translucent glass with 108 polyhedral shaped pieces fused or placed together. Newly rewired. Illuminates beautifully and looks amazing...

Unusual stripped Venini "Sigaro" hanging pendant designed by Massimo Vignelli. This is the harder to find, long (20") version, in perfect condition. Currently has original, and worki...

Venini chandelier “Toni Zuccheri “Murano glass metal crome iron 1950 Italy.

Hand blown white and blue glass pendant no. 011.11 designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venini. One...

Chandelier, Murano glass 1955, brass and glass.

Venini chandelier “Toni Zuccheri“ Murano glass metal iron, 1950, Italy.

Beautiful Mid-Century Modern pendant light or lantern designed by Fulvio Bianconi for Venini in white Murano glass. The shade of the chandelier is called "Fazzoletto" that translate...

Large textured glass and brass pendant by J.T. Kalmar, circa 1950. Made from a single sheet of textured glass which is 'curled' into a large, slightly organic, cylinder. One original...

Venini Tony Zuccheri chandelier Murano glass brass 1950 Italy.

Venini Toni Zuccheri chandelier Murano glass brass 1950 Italy.

Massimo Vignelli pendant lamp for Venini, Italy, 1950s.

Italian midcentury suspension chandelier Venini from the 1960s by Alessandro Diaz De Santillana. After graduating in architecture in Venice, he immediately devoted himself to univers...

Vintage Venini glass prism chandelier with two-tone amber and clear drops. In original, working and complete condition. The drops come in two lengths, the longer 15"- L x 1.25"- W. ...

Elegant chandelier from the Venini factory in glass and brass from the 1950s. The chandelier is in perfect original condition. The pendant is composed of 24 parallelepipeds with a triangular base in solid gilded glass. The glasses are hand ground in various sizes. The glass pendants are inserted in different crowns that frame the brass structure, where they create beautiful plays of light. In the central area, the chandelier, is composed of 16 pendants of various sizes. The longest pendant measures 53 cm while the average one measures 43 cm. The two measures are inserted in a staggered way. In the area below and inside there are 8 colored pendants of the same size (23 cm) that frame the structure. The chandelier has a tubular brass structure. Halfway through the structure, at different heights, 24 brass tubes radiate, acting as bearing elements for the insertion of the glass. Each tube is numbered to facilitate the insertion of the latter. The pendant consists of 8 lights placed 4 at the top and 4 at the bottom, to radiate the best of the room. All the glasses are made of solid gold-coloured glass. Once you access this chandelier will amaze you by the great beauty...

Venini sigaro pendant in lemon yellow with colored ban striped bottom, designed by Massimo Vignelli. Rare extra large (20") size. Perfect condition, curr...

Mid-Century Modern chandelier designed by Toni Zuccheri for Venini in Murano glass, circa 1950-1960.