Venini Serveware, Ceramics, Silver and Glass

With its unique features and meticulous attention to detail, this object is a testament to Tobia Scarpa's innovative vision and artistic sensibility. The small jar is in ivory opal ...

A very fine set of 4 Venini glass plates. Design attributed to Pierre Cardin. The group comprising 4 thick, square glass plates with rounded corne...

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:...

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 ...

A rare capital “Coreano” Artglass-object, model 504.4 in freeblown applegreen and turquoise glass. Designed in 1966 and handmade by the craftsman of the Venini glassworks on the Isl...

VENINI - mid-century studio glass latticino 'handkerchief' vase - striking pink ribbons with copper aventurine edges - unsigned - Italy (Venice) - circa 1950. Excellent vintage co...

Striking art glass vase ice bucket by Venini for Disaronno. Beautiful amber glass with a white striped drizzle.

Venini Narciso Opaline Glass Vase. A red exterior with grey interior Original Venini sticker label and papers. In original foam fitted box. Please note the image used in the main ph...

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

Article: Murano glass bowl element Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s These original vintage glass element was designe...

Mid Century handkerchief glass vase - twisted yellow canes with copper aventurine and white latticino - rare small size - smooth polished base ...

Amazing and fabulous Italian handmade and blown bottle in green color glass with stopper, from the “Velati” series designed and produced by Venini Murano in 1981. Original Venini Murano label...

Colletti series vase in greenish blown glass with two-tone incalmo band decoration designer Alessandro Diaz de Santillana. Venini engraved signature. After graduating in architecture...

Made in Italy, 1940s. This tiny bonbonniere is made in sommerso Murano glass, with gold flakes and few bubbles due to the process of glass blowing. It is a vintage piece, but it can ...

Murano Glass Vase

A Fazzoletto vase in green and light green opaline glass with clear glass overlay. It was manufactured in 2015 by Venini, Venice after a design of Fulvio Bianconi. On the base there ...

Vintage Venini Murano martini ice cube container in light blue, white & transparent wine cooler, ice bucket made in Italy 1970. No Makers Logo, Venini ...

Centerpiece VENINI.

“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 large Fazzoletto (handkerchief) vase in transparent glass with white rod decorations called "Zanfirico Lattimo". Manufactured ca. 1950s by Venini, Venice after a design of Fulvio B...

Round Venini vase Murano glass 1985 multi-color Italian design.

Large Vetro Sommerso Vase by Carlo Scarpa for Venini Murano, circa 1930s. A large vetro sommerso bollicine vase designed by Carlo Scarpa between 1934 a...

Murano 1940s round glass vanity wall mirror surmounted by thick finely twisted blown glass with brass straps by Paulo Venini. The mirror has a newer wood ...

Article: Murano glass bowl, ashtray element Producer: Venini glass, murano Origin: Murano, Italy Decade: 1970s This original glass shell bowl was produce...

Murano, 1985, vase "Zanfirico Reticello". Colorless glass with blue-white thread decoration. Signed on the bottom: Venini Italia 1985.

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/...

VENINI - mid century Murano Fazzoletto Filigrana glass vase - yellow, white and clear canes - rare large size - smooth polished ground pontil mark...

Laura Diaz de Santillana (b. 1955) for Venini rare Sommersi Oro vase from "Laura" series, Italy, 1993. This elegant hand-blown Murano glass vase is an exquisite blue color with gold ...

Article: Murano glass bowl element Producer: Venini Glass, Murano Origin: Murano, Italy Decade: 1970s These original vintage glass element was designe...

Model 1329 in the 'Paris' colorway of red, blue, green, and hay yellow glass. One of Bianconi's major contributions to the art of glassmaking, the Pezzato series premiered at the 195...

Vintage Acco vase by Alessandro Mendini for Venini, Murano 1997 A vintage art glass vase of the Acco series designed in 1988 by Alessandro Mendini for Venini, Venice. White opaque glass with a colorful overlay in red and a clear glass finish. With incised signature 'venini 97 A. Mendini' on the base and company lable on the body. A great example of the 1980s Italian Memphis Design. In 1921 Paolo Venini and Giacomo Cappellin founded a company that would become world famous. Under the artistic directions of Vittorio Zecchin the Vetri Soffiati Cappellin Venini & C. become the whiz kid of the golden 1920s. Over the decades, countless world-renowned artists like Napoleone Martinuzzi, Carlo Scarpa, Tomaso Buzzi, Fulvio Bianconi, Tuni Zuccheri, Thomas Stearns...

Circa 1930s, Venini, Italy. These early modernist tumblers were designed by Carlo Scarpa in 1932. Delicately toned with cobalt blue rims they are decades ahead of their time. Excelle...

“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...

Venini Bullicante bowl in vibrant ruby orange with gold foil inclusions by Carlo Scarpa circa 1950. Measures: 4" x 4" x 2" high. 1950s Italy.   

Beautiful vintage murano hand blown white and purple ribbons Italian art glass fazzoletto / handkerchief vase. Documented to designer Fulvio Bianconi, and signed "Venini Murano Itali...

Beautiful antique Murano hand blown Sommerso clear bubbles in champagne or caramel color with gold flecks Italian art glass ashtray. Documented to Venini company, and created by mast...

A beautiful Venini Fazzalleto vase of green and white Zanfirico. A Fulvio Bianconi Design. Acid signed on the bottom with the 'three line signature'. Venini Murano Italia

Large Venini Art Glass vase with Inciso Decoration Paolo Venini, Murano 1956 A large vintage art glass vase in notte (night) blue pesante glass ...

Beautiful vintage well sized Murano hand blown glass bowl. The bowl is fashioned using the famous Sommerso technique, creating clear bubbles in champagne or caramel colour with gold flecks. This is most likely the work of the famous Venini glass foundry. This technique has been published in various Venini books. Created in the "a Bollicine...

A stunning and large Venetian Murano art glass vase in peach colored translucent overlaid glass with gold aventurine inclusions made by...

Small dish in green glass, Venini Murano ca. 1930s A small glass dish in transparent green glass, most probably designed by Carlo Scarpa. Manufacture...

Venini Art Glass bottle with Fasce decoration, Murano 1950s A large glass bottle in transparent green glass with red stopper and a red "a fascia" ...

Hand blown incalmo glass decanter in white and green with stopper. Unsigned. Published: Venini: Catalog Raisonné 1921-1986, Diaz de Santillana, pg. 296. ...

Made in Italy, Murano, 1930s. Between 1932 and 1933 the Milanese architect Tomaso Buzzi, a spirited protagonist of the Milan “neoclassicist” movement, a friend and associate of Gio Ponti, and a partner of Il Labirinto, established a fruitful collaboration with the Venini glassware company, which would continue, albeit episodically, in later years. The architect’s creative contribution was evident both in the glass forms and in their innovative manufacturing technique. When Buzzi arrived at the Venini company in Murano, in 1932, he brought with him a remarkable cultural baggage and a thorough knowledge of ancient art, particularly the Etruscan period...

Beautiful Venini paperweight / abstract sculpture with a traditional swirl ribbon design. This is signed and is shown with circle marker in last picture, very faded, but is (Venini I...

Monumental Paolo Venini vase model 3556 for Venini in light grey Opalino glass. The second smaller vase measures Diameter 13 x H 38 cm. Both vases carry the Venini label and are Acid etched Venini Murano Italia...

Beautiful Venini vase in this canes twisted work, zanfirico technic that makes lattice patterns . This vase has a neck shape and is signed in bottom diamond point "Venini Italia" .

Italian light blue glass bottle with stopper, “Incisi” series, submerged glass with surface entirely worked by grinding produced by Venini Murano, Ve...

A beautiful Corroso a Bugne vase by Carlo Scarpa for Venini. With acid signature "Venini Murano" Literature: "Venetian Art Glass: An American Collection 1840 - 1970", Barovier, pag...

Rare Laura de Santillana for Venini blown glass designed in the 1980s, large “Klee” model, signed Venini Italia Laura 84. This beautiful murano piec...

A large gold and transparent blown murano glass large plate designed in Venice by Vittorio Zecchin for Venini in the Thirties. It's in perfect condition. This plate, crafted by the e...

Made in Italy, Murano, 1930s. Between 1932 and 1933 the Milanese architect Tomaso Buzzi, a spirited protagonist of the Milan “neoclassicist” movement, a friend and associate of Gio Ponti, and a partner of Il Labirinto, established a fruitful collaboration with the Venini glassware company, which would continue, albeit episodically, in later years. The architect’s creative contribution was evident both in the glass forms and in their innovative manufacturing technique. When Buzzi arrived at the Venini company in Murano, in 1932, he brought with him a remarkable cultural baggage and a thorough knowledge of ancient art, particularly the Etruscan period...

964.10 Triedri Crystal/Amber color glass. Chandelier composed of “Triedri“ elements in solid cristallo- and amber-coloured glass that when curved take on a hemispherical shape. The structure and chain are in chrome-plated metal. The Triedri, conceived between 1958 and 1960, are solid cristallo glass elements that, used as vertical modules for lighting fixtures, can be assembled to form various shapes. The trihedron, as a crystalline prism with a triangular section...

Venini Art Glass vase with Inciso Decoration Paolo Venini, Murano 1956 A vintage art glass vase in erba pesante (grass green) glass with layered...

Rare Murano hand blown dark amethyst/black "Filigrana Nera" cup. Excellent and very fine cylindrical cup with "black filigree" designed by Tapio Wirkkala for Venini, Murano, circa 19...

This is an original bottle without stopper, by the well known designer Fulvio Bianconi, has 3 acid marks and on top original foil label as shown in pictures.

Venini Murano Cannette glass paperweight, designed by Ludovico De Santillana. Clear bubble over a heavy base decorated with applied filigrana cane segments. Perfect condition.

Bolle Glass vase series, designed by Tapio Wirkkala and manufactured by Venini, was originally designed in 1966. Iconic masterpieces available in 5 different shapes. Indoor use only....