Cini Boeri for Venini Chiara Floor Lamp, Italy, 1980s

Had Cini Boeri been a man, the Milanese architect and furniture designer, who died in 2020 at age 96, might be regarded today on par with such visionaries of the mid-20th century as Gio Ponti or Marco Zanuso. She worked with both. Although she’s well known and deeply respected in Italy, her renown elsewhere has been more akin to a cult following.

“I admire the work she did across architecture, interiors and furniture,” designer Faye Toogood says of Boeri’s impact. “She practiced architecture during a time when it was considered that women were too fragile to work outside.”

Boeri was one of very few women of her era to graduate from Milan Polytechnic with an architecture degree, which she did in 1951. Her illustrious career hinged on the strict economy of her designs and limited palette of materials. For example, her innovative 1971 Serpentone sofa for Arflex was crafted from just one material, polyurethane foam, and sold by the meter. Her ingenious 1987 Ghost chair for Fiam was cut from a single sheet of thick glass.

But in Boeri’s earlier days, her pieces displayed a more youthful exuberance. The circa 1968 Cubotto cabinet, produced in small numbers by Arflex, is an elegantly irregular arrangement of eight drawers of varying dimensions. The wooden cube, two feet square, was finished in laminate — in vivid orange, blue, sand or white — with color-coordinated casters and handles of black-enameled brass. Its design reflects a Space Age interest in flexible, space-saving, multiuse furnishings.

“It’s a very clean piece of design,” says Kaisha Davierwalla, owner and founder of Vaspaar Italy. “Even with its strong, square lines, somehow the vibrant colors and asymmetry have the feel of a feminine touch.”

Find vintage Cini Boeri seating, lighting and tables on 1stDibs.

Beginning in the 1930s — and throughout the postwar years especially — Venini & Co. played a leading role in the revival of Italy’s high-end glass industry, pairing innovative modernist designers with the skilled artisans in the centuries-old glass workshops on the Venetian island of Murano. While the company’s founder, Paolo Venini (1895–1959), was himself a highly talented glassware designer, his true genius was to invite forward-thinking Italian and international designers to Murano’s hallowed workshops to create Venini pieces — among them Giò Ponti, Massimo Vignelli, Finnish designer Tapio Wirkkala, Thomas Stearnsof the United States and Fulvio Bianconi.

Paolo Venini trained and practiced as a lawyer for a time, though his family had been involved with glassmaking for generations. After initially buying a share in a Venetian glass firm, he took over the company as his own in 1925, and under his direction it produced mainly classical Baroque designs. In 1932, he hired the young Carlo Scarpa— who would later distinguish himself as an architect — as his lead designer. Scarpa, working in concert with practiced glass artisans, completely modernized Venini, introducing simple, pared-down forms; bright primary colors; and bold patterns such as stripes, banding and abstract compositions that utilized cross sections of murrine (glass rods).

Paolo Venini’s best designs are thought to be his two-color Clessidre hourglasses, produced from 1957 onward, and the Fazzoletto (“handkerchief”) vase, designed with Bianconi in 1949. Bianconi’s masterworks are considered by many to be his Pezzato works — colorful vases with patterns that resemble those of a patchwork quilt. Other noteworthy and highly collectible vintage Venini works include Ponti’s dual-tone stoppered bottles (circa 1948); rare glass sculptures from the Doge series by Stearns, the first American to design for the firm; Vignelli’s striped lanterns of the 1960s; the Occhi vases with eyelet-shaped patterns by Tobia Scarpa (son of Carlo); and, with their almost zen purity, the Bolle (“bubbles”) bottles designed by Wirkkala in 1968. 

With these works — and many others by some of the creative titans of the 20th and 21st century — Venini has produced one of the truly great bodies of work in modern design.