Furniture

Stunning monumental Italian Murano glass “Tronchi” chandelier by Venini and manufactured in Italy, circa 1970s. This chandelier has a capt...

Napoleone Martinuzzi, Bassotto Giallo (Yellow Dachsund) sculpture, white & gold Venini Murano 1930 Exceedingly rare example of a signed Venini large-scale Dachsund Dog Sculpture by N...

Mid-Century Modern chandelier by Venini. 42 Murano glasses set on a metal base consisting of 2 tiers. The light has 7 bulbs. Details Creator: Venini, Murano Dimensions: Height...

A hand blown orange colored glass Fungo table lamp designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venini. This is the largest size of the Fungo table lamp. The Fungo lamp...

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

"Incamiciato" Italian Art glass vase by Tomaso Buzzi for Venini. Clear, white and green. With original label. Signed: Venini Italia '89.

Pair of vintage Venini wall sconces Murano glass 1970s orange and white. Made by 14 prism triedri. The total dimension is H 37 x 24 cm Perfect condition and fully workig; normal and...

Chandelier "Esprit" in Murano hand blown glass and chrome metal. Designed by Toni Zuccheri and produced by Venini in the 1970s. Bibliography: - Domus 436 (marzo 1966), advertising...

Mid-Century Modern Italian murano glass vase designed by Fulvio Bianconi manufactured by Venini circa 1951 The Pezzato vases are among the most significant objects designed by Ful...

handcrafted tiered chandelier in mottled, cylindrical form vibrant chartreuse colored Murano glass by Venini. Italy, 1960s. .

Vittorio Zecchin for Venini rare and exquisite 'Cesendello' pendant light, Italy, 1920s. This lovely original pendant is made with blown Murano glass in a soft chestnut brown color w...

Rare large Venini wall lights from the 1940s. Minimal patinated brass hardware with large tapered textured glass diffusers which have an iridescent coatin...

A hand-blown amber coloured glass Fungo table lamp designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venini. This is the medium high version. Please note that the last photo is only to indicate the size of the lamp; the lamp used there is actually a different (but also amber colored) lamp. The Fungo lamp...

VENINI Vase.

An early large Venini Fazzoletto Vase. By Venini to the Fulvio Bianconi design, circa 1950. Signed clearly with the three line signature. Retains stickers from Christies. This is lot 130 from 1989 Robert Mapplethorpe Collection Christies Auction.

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...

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

Wonderful multi-level Murano Triedri glass chandelier from the 1960s by Venini. The chandelier brings a wonderful atmosphere to every room. A matching p...

Stylized pair of Venini globe lamps with marble base. Thin brass rim under the globe and sits on the base. Diameter at the base 9", padded underneath so won't scratch the surface tha...

Midcentury ORIGINAL modern signed Italian spiral chandelier manufactured by Venini Marked “VENINI SAS MURANO MADE IN ITALY” Multiple tiers of Italian Murano crystals cut into triang...

A pendant light made in 'zanfirico' Murano glass by Venini, circa 1960. Suspended by a brass chain with circular links and domed ceiling rose. In excellent condition. Can be wi...

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" ...

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

This pendant lamp was designed by Paolo Venini for Venini during the 1970s, in Italy. It features a brass plate were dozens of frosted glass drops fall creating a layering effect wit...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Venini Trilobo Murano glass and steel chandelier circa 1960 Made in Italy Will require four chandelier bulbs. Venini—the world famous Italian gl...

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...

Art glass vase designed by Emmanuel Babled (1967-) for Venini. An extremely rare artistic vase, created in the island of Murano by the sculptor Emmanuel Babled, back in the 2004. This sculptural tall vase is part of a limited edition of only 9 piece made by the Venini company from Venice. It is made in the shape of a sublime woman torso, blown in 3 colors of cased glass and finished with a delicate wheel carving. Technique: Blown art glass, triple cased, etched and carved at the wheel. Measures: 450.85 by 196.85 mm (17.75 by 7.75 Inches) Edition: Number 4 of 9. Signatures: Etched at the bottom, "Venini 2004 4/9 EMM. BABLED". with the original Venini decal label. Emmanuel Babled was born in France in 1967. He studied Industrial Design at Istituto Europeo di Design in Milan, graduating in 1989 and founding his own design studio in 1992. In 2010 Emmanuel Babled Studio moved to Amsterdam after many years in Milan. Since the start, he has developed a wide range of unique pieces and limited editions in self-production and for prestigious manufacturers such as Venini, Baccarat, Rosenthal and Covo. These pieces are part of private and public collections around the world. At the same time he has also designed Industrial products, furniture and lighting. His clients include Baccarat, Rosenthal, Venini, Bulgari, Iittala, Dupont de Nemours, Fontana Arte, Oluce, I&I, Laurent Perrier...

If you like vintage lighting then you will love this glass sconces by Carlo Scarpa for Venini. Designed with four vertical tubes and metal centre with one E14 bulb. In full working ...

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.

Dating from the 1950s, this vase may have been designed by Fulvio Bianconi, but this exact design remains uncatalogued.

Sculptural Italian chandelier from the famous house Venini dating from the 40/50s. Structures in white lacquered metal (original paint) and rectangular diffusers in transparent Muran...

Italian Venini Carlo Scarpa wall lamp 1936 Art Glass Murano Catalogo Blu.

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Italian Mid-Century Modern design set of three scones wall lamps designed by Massimo Vignelli and produced by Venini with Murano adjustable glass diffusers and brass frame, Italy, 19...

An exceptional Mid- Century Modern oval chandelier by Venini ( Founded 1921 in Milan, Italy by Paolo Venini and Giacomo Cappellin). The stylish two-tiered chandelier features hand-blown Murano glass triede elongated prisms that dance in the light attached by two rods and rectangular ceiling...

“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 antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...

Venini glass vase with slim, oval shaped body and funnel shaped neck. Perfect for indoor home decor as container or strong statement piece for any room. It appears in refined colo...

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...

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

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by VENINI from 1970 lies in its name: Balloton, a special technique that lends a unique matelassé effect to...

Laura Diaz de Santillana (b. 1955) for Venini rare Sommersi Oro vase from "Laura" series, Italy, 1980. This elegant hand-blown Murano glass vase is an exquisite celadon green color w...

Venini Sconces

Vintage Italian chandelier with clear Murano glass tubes made in Rostrato technique hanging from silver painted metal frame. Made by Venini, Italy, circa 1960s. Dimensions: 32"H x...

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

From «The Annunciation» by Paolo Veronese to the Fornace (Kiln): a wonderful journey for this fine vase by Vittorio Zecchin. A complex shape, curved beyond imagination: Veronese defi...

Ceiling or Hanging lamp from the 'Membrane' series, designed by Toni Zuccheri and created between 1966 and 1968 by the famous Italian company Venini. The lamp presents a round sha...

VENINI centerpiece.

Vintage Italian pendant with frosted Murano glass globe with hand blown white Murano glass stripes, mounted on chrome hardware / Designed by Venini circa 1960s / Made in Italy 1 ligh...

A classical form inspired by faraway places, magically projected in the contemporary world by the new colours. It draws inspiration from faraway places, halfway between fantasy an...

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

From «The Annunciation» by Paolo Veronese to the Fornace (Kiln): a wonderful journey for this fine vase by Vittorio Zecchin. A complex shape, curved beyond imagination: Veronese defi...

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

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...

Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s Original mark on the frame Measures:...