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Poliedri lamp designed by Carlo Scarpa and edited by Venini, Italy 1950
By Carlo Scarpa
Located in Madrid, ES
Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. Every item ...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

Poliedri lamp designed by Carlo Scarpa and edited by Venini, Italy 1950
By Carlo Scarpa
Located in Madrid, ES
Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. References:...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

"Poliedri" Sconces designed by Carlo Scarpa. Italy 1950
By Carlo Scarpa
Located in Madrid, ES
Pair of wall lights with four lightpoints,“Poliedri” model designed by Carlo Scarpa, edited by Venini. Composed by Murano crystal pieces over a structure made in white lacquer metal....
Category

Vintage 1950s Italian Mid-Century Modern Wall Lights and Sconces

Materials

Crystal, Metal

Carlo Scarpa Murano chandelier Poliedri by Venini
By Carlo Scarpa
Located in SON EN BREUGEL, NL
A very beautiful and original Murano chandelier designed by Italian architect Carlo Scarpa for Venini Murano. With 18 lights. With soft colored and transparent slightly iridescent mo...
Category

Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

A pair of Carlo Scarpa Murano chandeliers 'Poliedri' for Venini
By Carlo Scarpa
Located in SON EN BREUGEL, NL
A very beautiful and original pair Murano chandeliers designed by Italian architect and designer Carlo Scarpa for Venini Murano. Each with 9 lights. Beautiful design where the advanc...
Category

Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

A pair of Carlo Scarpa Murano chandeliers 'Poliedri' for Venini
By Carlo Scarpa
Located in SON EN BREUGEL, NL
A very beautiful and original pair Murano chandeliers designed by Italian architect and designer Carlo Scarpa for Venini Murano. Each with 9 lights. Beautiful design where the advanc...
Category

Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

Carlo Scarpa for Venini Poliedri Murano glass chandelier, Italian Design 1960s
By Carlo Scarpa, Venini
Located in Milan, IT
A great classic of Carlo Scarpa's creations for Venini is the system of elements called Poliedri: a clever and elegant system for modeling lighting in shapes from time to time suited...
Category

Vintage 1960s Italian Chandeliers and Pendants

Materials

Metal

Carlo Scarpa for Venini 'Poliedri' lamp in murano glass
By Carlo Scarpa, Venini
Located in Milano, IT
Pendant lamp designed by Carlo Scarpa and produced by Venini from the Poliedri series. Metal frame and Murano glass elements, 1960s. In very good original condition.
Category

Vintage 1960s Italian Mid-Century Modern Wall Lights and Sconces

Materials

Brass

Venini Pink and Ice Original Poliedri Chandelier by Carlo Scarpa, 1955
By Carlo Scarpa
Located in Rome, IT
Fabulous original Venini Poliedri chandelier by Carlo Scarpa. Rare combination of light pink and Ice colored Murano glass. Ivory p...
Category

Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants

Materials

Blown Glass

Set of 4 chairs Carlo Scarpa, Bernini mod. 1934-765
By Carlo Scarpa
Located in Montecchio Precalcino, VI
This Is a rare iconic set of 4 chairs design by Carlo Scarpa for Bernini, mod 1934-765. This chairs Born in 1970, and come up in original condition, without any restoration as in pho...
Category

Vintage 1970s Italian Brutalist Living Room Sets

Materials

Wood

Italian mid century glass Poliedri chandelier by Carlo Scarpa for Venini, 1958
By Carlo Scarpa, Venini
Located in MIlano, IT
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...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

Venini Carlo Scarpa Mezza Filigrana Bottle
By Carlo Scarpa
Located in Doraville, GA
A bottle designed by Carlo Scarpa for Venini in the mid 1930s. The bottle is a very faint blue green color and displays the mezza filigrana method of glass ...
Category

Vintage 1930s Italian Modern Bottles

Materials

Blown Glass

Midcentury Carlo Scarpa Poliedri Chandeliers for Venini, Murano, Italy, 1960s
By Carlo Scarpa, Venini
Located in Almelo, NL
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...
Category

Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

Pair of 'Poliedri' Ceiling Lights
By Carlo Scarpa, Venini
Located in London, GB
A pair of original Venini 'Poliedri' chandeliers coloured glass, chrome-plated steel. Shades designed by Carlo Scarpa. 28 cm (11 in.) drop, 54 cm (21 1/4 in.) diameter P...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Steel

Carlo Scarpa Green Poliedri Chandelier in Murano Opaline Glass for Venini, 1958
By Carlo Scarpa, Venini
Located in Vicenza, IT
“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...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Glass, Murano Glass

Carlo Scarpa, Poliedri Chandelier, 1969 Murano Glass Light, Ø 85cm, 110cm height
By Venini, Carlo Scarpa
Located in Munster, NRW
Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...
Category

Vintage 1960s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Blown Glass

Carlo Scarpa Big “Poliedri” Chandelier in Murano Opaline Glass for Venini, 1958
By Carlo Scarpa, Venini
Located in Vicenza, IT
“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...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Glass, Murano Glass

Rare Venini Design Carlo Scarpa Poliedri Chandelier Pendant about 1950
By Carlo Scarpa
Located in taranto, IT
rare huge and majestic chandelier by venini, design carlo scarpa, made by 205 poliedri transparent glasses, with 19 bulb holder height 1 meter, diameter cm 70. no lost poliedri, on...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Iron

Venini Glass Sconces Poliedri By Carlo Scarpa, 1950, Italy
By Carlo Scarpa
Located in Vienna, AT
Set of 2 glass wall lamps by Carlo Scarpa for Venini, Italy, mid-century Sold and priced individually Impressive 22" wall lamps with clear textured glass and slightly yellowish gla...
Category

Vintage 1950s Italian Mid-Century Modern Wall Lights and Sconces

Materials

Brass

Carlo Scarpa Poliedri Applique Chandelier for Venini
By Venini, Carlo Scarpa
Located in Brooklyn, NY
Poliedri applique, suspension lamp and wall sconce, designed by Carlo Scarpa and manufactured by Venini, were originally designed in 1958. Indoor use only. Dimensions: Ø 81 cm, H...
Category

21st Century and Contemporary Italian Modern Chandeliers and Pendants

Materials

Glass

Venini Carlo Scarpa Chandelier Murano Glass Brass Poliedri, 1950, Italy
By Carlo Scarpa
Located in Milano, IT
Venini Carlo Scarpa Poliedri chandelier Murano glass brass, 1950, Italy.
Category

Vintage 1950s Italian Other Chandeliers and Pendants

Materials

Glass

Carlo Scarpa Mid-Century Modern Venini Pair of Murano Glass Poliedri Lamps
By Carlo Scarpa
Located in Madrid, ES
Pair of model lamps "Poliedri" designed by Carlo Scarpa and edited by Venini, with structure in lacquered metal and Murano glass, Italy, 1950s. Carlo Scarpa was born in Venice in 19...
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Metal

Carrara Marble Dining Table Model 'Samo' by Carlo Scarpa, 1973
By Carlo Scarpa
Located in Vicenza, VI
Table model "SAMO" by italian architect and designer Carlo Scarpa made entirely of Carrara marble produced by Simon International in 1973 belonging to the "Ultrarazionale" series, fe...
Category

Vintage 1970s Italian Modern Dining Room Tables

Materials

Carrara Marble

1960s Pair of Hand Blown Glass Sconces by Carlo Scarpa for Venini
By Venini, Carlo Scarpa
Located in Amsterdam, NH
Stunning Original wall lights by Carlo Scarpa for Venini. 'Poliedri' shaped Murano glass ornaments alternating in height and color. We also have...
Category

Mid-20th Century Italian Wall Lights and Sconces

Materials

Glass

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By Carlo Scarpa, Venini
Located in Milano, IT
Architect, designer, tracher, writer. Carlo Scarpa has been one of the most eminent - and multi-faceted - personalities in the Italian Twentieth century. Born and raised in Venice, a...
Category

Vintage 1960s Italian Mid-Century Modern Wall Lights and Sconces

Materials

Glass, Art Glass, Blown Glass, Murano Glass

1960s, Pair of Hand Blown Glass Sconces by Carlo Scarpa for Venini
By Carlo Scarpa, Venini
Located in Amsterdam, NH
Stunning original wall lights by Carlo Scarpa for Venini. 'Poliedri' shaped Murano glass ornaments alternating in height. We also have a large m...
Category

Mid-20th Century Italian Wall Lights and Sconces

Materials

Glass

Suspension Lamp Model "Poliedri" Designed by Carlo Scarpa and Edited by Venini
By Carlo Scarpa
Located in Madrid, ES
Suspension lamp model “Poliedri” designed by Carlo Scarpa, edited by Venini. Composed by pieces of solid crystal over a structure made in white lacquer metal.
Category

Vintage 1950s Italian Mid-Century Modern Chandeliers and Pendants

Materials

Steel

1960s Pair of Hand Blown Glass Sconces by Carlo Scarpa for Venini
By Venini, Carlo Scarpa
Located in Amsterdam, NH
Stunning Original wall lights by Carlo Scarpa for Venini. 'Poliedri' shaped Murano glass ornaments alternating in height and color. We also have...
Category

Mid-20th Century Italian Wall Lights and Sconces

Materials

Glass

Poliedri Chandelier by Carlo Scarpa for Venini with 57 Murano Glasses, Italy
By Carlo Scarpa, Venini
Located in Bresso, Lombardy
Made in Italy, 1960s. This chandelier features 57 beige and transparent handmade polyhedron pieces of Murano glass by Venini. Being handmade means that they might be different fr...
Category

Vintage 1960s Italian Post-Modern Chandeliers and Pendants

Materials

Metal

More Carlo Scarpa Designs
Carlo Scarpa Poliedri Lights
Carlo Scarpa Poliedri Lights
Average Price
$15,294
Number Available
22
Carlo Scarpa Poliedri Lights
Materials
Glass, Metal, Murano Glass
Styles
Mid Century Modern
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