Furniture

Hand blown frosted glass, chromed metal.. *2nd matching pendant available.

A timeless beauty of Murano glass. This opulent chandelier, a masterpiece, was artfully crafted by Venini in 1960. Its grandeur is composed of 60 meticulously handcrafted Murano glas...

Large orange & clear Murano glass vase/umbrella stand designed by Pierre Cardin for Venini in the 1970s.The vase is made with the mold casting...

How can such a complex and sophisticated technique like "Canne" (canes) give life to such a natural and spontaneous shape? Only Massimo Vignelli knows. Designed in 1956, this unique ...

Art Nouveau, Charleston, the dawn of a new design era. The 1930s, celebrated by VENINI in 1997 and wistfully recalled with essential and innovative shapes like those that marked the ...

This object is a piece of extreme quality and design made of murano glass by designer TYRA LUNDGREN for VENINI, a collector's item for a connoisseur.

Venini glass vase with pinched rim in horizon and aquamarine designed by Fulvio Bianconi and Paolo Venini in 1948. Perfect for indoor home decor as container, vide-poche or statement...

Large Venini Murano Glass Chandelier $12,500.00 Large Murano glass chandelier by Venini from the 1960s. Its composed of several colorless hand blown ribbed glass sections that come t...

Clessidre Hourglass, designed by Paolo Venini and Fulvio Bianconi, was originally designed in 1957. Available in different colors, the grey / mint green version is a limited edition ...

Balloton table lamp, designed and manufactured by Venini, is available in three different colors and features an handmade blown glass body with fabric shade. Indoor use only. Dime...

Monofiore Carnevale glass vase collection, designed and manufactured by Venini, features two different shaped vases. Indoor use only. Dimensions: Ø 13 cm, H 12 cm.

Coletto by Ludovico Diaz de Santillana – Centerpiece blown Murano glass Coletto by Ludovico Diaz de Santillana, centerpiece blown Murano glass. Large centerpiece in blown Murano glas...

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 Happy Pills in ossitocina by Fabio Novembre. Numbered edition handmade-blown glass with the “Incalmo” technique. Color: Multi-color Dime...

Venini Regina glass vase in gray by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower part is gla...

Venini Re glass vase in milk-white by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower part is ...

Venini Happy Pills in feniletilamina by Fabio Novembre. Numbered Edition Handmade blown glass with the “Incalmo” technique. Color: Feniletilamina...

Venini Happy Pills in estrogeno by Fabio Novembre. Numbered Edition Handmade-blown glass with the “Incalmo” technique. Color: Estrogeno Dimensi...

Venini Principe glass vase in Gray by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower par...

Venini Adrenalina happy pills by Fabio Novembre. Numbered Edition Handmade-blown glass with the “Incalmo” technique. Dimensions: Ø 11.5 cm, H 33 cm Year of manufacture: 2012 ...

Venini Principe glass vase in milk-white by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower part is glazed. Color: Milk-W...

Venini Clessidre glass vase in Gray/red. Limited edition in 199 art pieces for each color. Color: Gray/Red Technique: Incalmo Dimensions: Ø 13.5 ...

Venini Happy pills in testosterone by Fabio Novembre. Numbered Edition handmade-blown glass with the “Incalmo” technique. Color: Testosterone D...

“A lantern, a shelter of desires. The magic of glass that at the same time reflects, embodies and reveals, partially. A signal and a sign of events. A paradigm of meetings that emit aromas and remote flavors. Remembrance of a Venice suspended between East and West, a door to knowledge and oblivion… A memory of desert crossing...

Occhi by Tobia Scarpa – Quadrangular shaped vase “Occhi” vase by Tobia Scarpa. Quadrangular shaped vase from the occhi series. Made up of an arrangement of white and clear glass murr...

The beautiful white Murano glass ceiling or wall lamp Vetry Murano 022 by Venini was made in Italy in the 1970s. Can be used as a ceiling or wall lamp. The electrical system is fully...

Vintage 1970s Murano Venini glass chandelier. 10 lightbulbs. 5 tiers of glass. 62 pieces of glass. No broken or chipped glass. Chrome cage with ceiling cap. Tested, working order. Ac...

Abat Jour table lamp with white fabric shade, chromium-plated stand and hand-made blown glass elliptical elements. Its combination of white and color make it a subtle yet playful add...

Venini glass vase with round body and glass glasses sculpture. Featured in red colored glass. Perfect for indoor home decor as container or strong statement piece for any room. Di...

Venini glass vase with geometric, circular shaped body and triangular neck and base. Designed by Ettore Sottsass in 1994. Featured in coral red, milk-white, black and light green col...

Venini glass vase with cylindrical body and crystal decorative base. Featured in apple green colored class with crystal designed in 1921. Perfect for indoor home decor as container o...

Venini glass vase in horizon blue designed by Napoleone Martinuzzi in 1930. Perfect for indoor home decor as container or statement piece for any room. Also available in other colors...

Venini glass vase with slim, oval shaped body and funnel shaped neck. Featured in tea and crystal colored glass. Perfect for indoor home decor as container or strong statement piece ...

Venini glass vase with slim shaped neck and black glass glasses sculpture. Featured in grass green colored glass. Perfect for indoor home decor as ...

Venini glass hourglass in grey and red. Perfect for indoor home decor or as a statement piece for any room. Limited edition of 199 pieces. Also availab...

Venini glass vase in white and green designed by Tapio Wirkkala in 1966. Perfect for indoor home decor as container or statement piece for any room...

Venini glass vase with slim shaped neck and black glass glasses sculpture. Featured in red colored glass. Perfect for indoor home decor as containe...

Ceiling or wall lighting system made up of 8 Murano glass elements, "Patchwork" model, designed by Toni Zuccari for Venini. The structure is in white painted metal on which the tran...

Rare single Midcentury wall light model "802" by Tobia Scarpa for Venini, Italy 1970 Stunning hand blown glass and metal structure. This light can be re-oriented to point up as wel...

Pair Of Toni Zuccheri For Venini Murano glass sconces. This large pair of Italian Murano sconces have chrome structures, long oval tubular glass with each having 3 Edison based sockets. These chic midcentury Murano sconces...

Large Scale Laguna Vase by Tomaso Buzzi for Venini. Incamciato glass, gold leaf. Opaque pale green glass with internal gold exterior, and turquoise glass interior. Applied black glass foot. Vietri Murano...

An Italian 1970s Venini Murano glass swirl ball lamp on brass base, re wired with new fittings, antique gold cord flex and switch.

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 Measures: diameter 12 inches, height 5...

Clessidra hourglass in amber murano glass by Paolo Venini and Fulvio Bianconi. Little grains of sand, impalpable and unnoticeable as a whole yet so real, like time ticking away. In 1...

Pair of designed by Toni Zuccheri for Venini is this Esprit ceiling mount light. Venini describes the model “Esprit” as an explosion of flowers and stars in hand blown, handcrafted g...

Vintage Big Murano Glass Vase by Venini, Italy 1970s. 49 cm x 20 cm. Excellent condition.

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...

Murano glass chandelier by Toni Zuccheri For Venini. Our unusual vintage Italian chandelier, pendant or lantern is comprised of...

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...

Sheer glass is hand-blown and crafted by the master glassblowers using the sophisticated Satinatura technique, which lends it the exquisite opaque appearance to which it owes its nam...

Murano Glass Vase

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

Indulge in the timeless elegance of this remarkable pair of Venini Tronchi wall lights, expertly crafted by the talented Toni Zuccheri during the 1970s. These captivating sconces fea...

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...

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

Amazing flush mount chandelier crafted in curved molded Murano Glass on a gilded brass frame. Chandelier illuminates beautifully and offers a lot of light. Gem from the time. With t...

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...