Furniture

Luxurious and Spectacular Flushmount Murano Hand Blown Bubbles and Brass Chandelier designed and produced by Paolo Venini in 1960 in Italy. With an exquisite design, it is a multitu...

Lampada da tavolo Venini Misure solo della struttura vetro senza paralume. Height 38cm. Large 18 cm.

VENINI table lamp

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...

12 Light chandelier designed by Carlo Scarpa for Venini , Model 99.37 in Murano Italy. This Chandelier originally designed in 1940 was manufactured in 2009. All the pieces are in ...

Vintage Venini Murano martini ice cube container in light blue, white & transparent wine cooler, ice bucket made in Italy 1970. No Makers Logo, Venini ...

Chandelier, Murano glass 1955, brass and glass.

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

Vintage Italian chandelier with clear and gold Trilobo glasses suspended from white metal ceiling plate. Made by Venini, Italy, c. 1960's. Dimensions: 61"H x 10"D

Beautiful vintage well sized Murano hand blown glass bowl. The bowl is fashioned using the famous Sommerso technique, creating clear bubbles in champagne or caramel colour with gold flecks. This is most likely the work of the famous Venini glass foundry. This technique has been published in various Venini books. Created in the "a Bollicine...

A Mezza Filigrana (halve filigree) Murano art glass bowl, manufactured by Venini in 1979. Most probably a design of Carlo Scarpa who designed mezza fil...

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

The unique Murano chandelier Calla or Lily by Venini was made in Italy in the 1960s. Beautiful chandelier with glass flowers that seem to fall from a chrome stand. This lamp with its...

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...

A hand blown glass globe / sphere with stunning reticello glass design, wiith brass stem and canopy. Designed by Carlo Scarpa for Venini, circa 1940. A c...

“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...

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...

Suspension lamp with metal structure and modular elements in Murano glass from the Elica series. Designer Toni Zuccheri. Signed. Produced by Venini, Italy, circa 1960. Biography To...

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

This pair of sconces consists of 9 Triedri each, in Murano glass and was produced by Venini in the 1970s, in Liberty style, they have a gilded brass structure. Paolo Venini (1895-...

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

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...

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...

VENINI Vase.

Early examples of this rare form. Hand blown glass in the incalmo technique; one in a clear, blue and red banded design, the other blue, clear and purple. The incalmo process, first ...

Anemone hand-blown glass table lamp designed by Ludovico Diaz de Santillana for Murano glass specialist Venini in the 1970s. The elegant model that seems to have been inspired by se...

Clessidra hourglass in grape and pink Murano glass by Paolo Venini and Riedizione. Limited edition in 99 art pieces each. Little grains of sand, impalpable and unnoticeable as a whol...

Satin large vase in glazed horizon/crystal Murano glass by Venini. Sheer glass is hand blown and crafted by the master glassblowers using the sophisticated Satinatura technique, whic...

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...

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:...

Stunning Murano glass chandelier designed by Venini for Kalmar, 1960s Two tiers gather many structured glasses, beautifully refracting the light very heavy quality. High quality and...

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

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...

Pair of Venini vases "Coreani" design Tapio Wirkkala, circa 1970s. In two-tone blown glass with overlapping spirals. Signature engraved on bottom and Venini label...

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

Venini Vase 'Fazzoletto Opalino', by Fulvio Bianconi 1950s A Fazzoletto vase in opaline and rose glass with clear glass overlay. It was manufactured in the 1950s by Venini, Venice a...

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

Large sculptural table lamp by Carlo Nason for Mazzega, Italy 1960s. Refined and monumental design composed of lively blown Murano glass parts on a chic architectonic bronze base. Th...

Large Opalino vase by Venini, 1970s. In opaline incmicito blown glass, engraved signature and label. In excellent condition.

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...

Italian modern glass chandelier Firenze by Ettore Sottsass for Venini, 1990s Chandelier mod. Firenze (Florence) composed of a series of...

Venini Art Glass Bowl 'Diamante' by Paolo Venini, Murano 1930s A rare Venini art glass bowl of the 'Diamante' series. Heavy transparent glass with a ...

Mid-Century Modern Venini chandelier with Murano glass prisms acquired from a Palm Beach estate Note: Measurement of the chandelier portion itself is 13.63" height x 13.50" diameter...

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 ...

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...

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...

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...

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...

VENINI sconces.

A beautiful Venini Fazzalleto vase of green and white Zanfirico. A Fulvio Bianconi Design. Acid signed on the bottom with the 'three line signature'. Venini Murano Italia

Italian modern steel, marble and Murano glass Ratrih floor lamp by Ettore Sottsass for Venini in 1994. Ratrih model floor lamp, with round marble base...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Venini ceiling light /sconces murano glass 1940 Italy.

Venini Centerpiece.

Incisi glass vase collection, designed by Paolo Venini and manufactured by Venini, feature an engraved surface. Originally designed in 1956. Numb...

Belboi Tavolo Table lamp, designed and manufactured by Venini, features an handmade blown glass top with gold-plated metal finishes. Adds a pop of a color to any desk or table. Light...

Zoe tavolo table lamp, designed by Doriana and Massimiliano Fuksas and manufactured by Venini, features a lantern shape. Indoor use only. Dimensions: Ø...

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:...