Furniture

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 ...

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...

Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...

Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...

Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...

With the Pigmenti collection, Venini aims to send out a sign of renewal through the development of a Classic form as the expression of a contemporary interior design accessory. PIGME...

Historic vase designed by Napoleone Martinuzzi in opalino glass characterized by round horizontal ribs. The model is proposed in three shades of color and in three sizes. Rhythm" ...

VENINI Vase.

Originally manufactured at the Wiener Werkstaette Atelier, now custom-made production at the Woka Lamps Workshop in Vienna. Exhibited at the Art Basel Miami 2020 Sockets: 3 x Ediso...

Adolf Loos has designed this lamp for the Valentin Rosenfeld Apartment in 1912 and for the Taylor-store Erich Mandl 1916 Lit: Rukschcio/Schachel, Adolf Loos, Leben und Werk, p 497,5...

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...

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/...

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:...

Vintage Murano Art glass vase 'Bolle' by Tapio Wirkkala for Venini A vintage art glass vase of the 'Bolle' series. Thin mouth blown stra...

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...

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

Beautiful vintage Murano hand blown dark blue, with light blue and white ribbons Italian art glass fazzoletto / handkerchief vase. Documented to designer Fulvio Bianconi for the Veni...

A fine Italian Mid Century Modern glass "Mezza Filigrana" vanity mirror designed by, Carlo Scarpa for Venini. The mirror frame is internally decorated with pink lattice decoration an...

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...

Veliero comprises 6 modular elements; the simplicity of the original square remains unchanged, and is actually enhanced by the encounter with the other elements, expressing itself in...

Vase model Simira filigree glass and solid glass base molded to the wheel, circa 1987- 1988. Signed. Biography Alessandro Mendini was born in Milan in 1931. After a long experience...

Limited edition - 1 of XX A silver leaf inserted into glass lends an unexpected precious flair to the appliqués, contrasting with the subtle hues of the base and the darker shades o...

A wonderful Adolf Loos and Heinrich Kulka fireside chair for Friedrich Otto Schmidt in walnut. The fireside or chimney chair is considered one of the mo...

A height adjustable brass counter balance pendant lamp by J.T. Kalmar manufactured in midcentury in 1950s and designed by Adolf Loos. Fitted with ...

A variation of the classical Brioni chandelier by Adolf Loos 1914, re edtion All components according to the UL regulations, with an additional charge we will UL-list and label our ...

Murano glass chandelier designed by Venini, Murano, 1940s. It is made from Murano art glass and is composed of 3 glass cones set on a brass base. The glass is made using the techni...

A so called "Pentagondodekaeder" a ball made from 12 flat pentagons, made for the famous taylor-shop Knize in Vienna, Paris and Berlin" Measures: 35cm diameter, a larger version is ...

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

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...

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...

Venini Art glass vase 'Bolle ' by Tapio Wirkkala for Venini, Murano A vintage art glass vase of the 'Bolle' series. Thin mouthblown grey and amethyst glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in 1997. Venini model number 502.02. Signed with incised signature 'venini 97 tw' on the base. 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...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Mantelpiece clock, often used by Adolf Loos in houses he designed. Casted brass-frame on four Rhomboid legs, strengthened edges leading to octagonal side frames, facettet glasses, cl...

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

Marvelous Mid-Century Modern, stunning design, chrome & glass flowers fixture. This aesthetically pleasing and very rare design, Murano glass pendant is in good condition and read...

Artù, the stunning Mid-Century Modern crystal floor lamp/side table designed by the legendary Ettore Fantasia for Sothis Italy. This exquisite piece combines both form and function, ...

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...

Tobia Scarpa ‘Occhi’ bottle, Venini, Italy, 1960s. Colorless glass, red bordered murinne, arranged like a chessboard and merged. Quadrangular shape, roun...

Mid-Century Modern XL Venini chandelier. The light consists 162 original Murano glass crystals on a metal base consisting of 3 tiers. A true jewel for your home. Details Creator:...

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...

Another version of the famous so called "Pentagondodekaeder"" a ball made from 12 flat pentagons, made for the famous taylor-shop Knize in Vienna, Paris and Berlin". Most componen...

Venini chandelier.

Adolf Loos (1870 - 1933) designed the chair model shown here in 1899 based on an English model as part of his earliest work as an interior designer for the dining room in Eugen Stössler's apartment in Vienna. The omission of the front supports of the armrests and the backwards curved legs lend the early chair a touch of elegance. Instead of the turned legs of the English model, Loos used smooth round wood with brass feet to protect the carpet. So these ankle cuffs fulfill a practical purpose and at the same time have a decorative effect. They thus correspond to Loos' demand for a 'unity of form and function'. Beautifully shaped furniture made by hand in high quality, solid walnut and veneered, shellac hand-polished, upholstered seat and covered with leather, brass nails and brass shoes. Execution: Friedrich Otto Schmidt, Vienna, circa 1900 Model number 6865 The model was produced by the company F. O. Schmidt and was also in their offer at the time. This explains why this chair model, specially designed by Loos for one of his interiors, can also be found on the art market. Measures: Total height: 82.0 cm / 32.28 in Seat height: 47.0 cm / 18.50 in Width: 57.0 cm / 22.44 in Depth: 50.0 cm / 19.68 in Bibliography: - The dining room in the Stössler apartment was published in 1900 in the Viennese arts and crafts...

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...

“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...

Add a touch of classic Italian craftsmanship to your home with this stunning Venini chandelier from the 1960s. The octagonal shape and chrome structure perfectly complement the four...

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

A murano glass and brass table mirror designed and produced by Venini, Italy, 1940s.

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 sconces.

MOS is the family of storage units designed by GamFratesi with console, bookcase and side table, which can also be used as a bedside table, that incorporates the style of the bench o...

Extreme shape synthesis. Minimalism, exclusivity and an eye for detail. The “Postsparkasse” series was designed in 1906 by Otto Wagner for the headquarters of the Post Office Savings...

The table, designed by a group of Swedish designers, Front, has a steam bent beech structure, combining its attractive light appearance with the substance of solid wood. The top is made of an ash panel available in two sizes that make the Arch dining table...

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

The Anglo-Austrian Bank, founded 1864 with british capital, was an austrian Bank in Vienna. In 1913, the bank had 43 branches. In 1914, Adolf Loos was commissioned with the renovati...

Chandelier first used in 1899 at the Cafe Museum, later for the apartment of Leopold Goldman, the builder of the famous "Looshaus, Goldman & Salatsch" "in Vienna. This chandelier has...

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...

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...