Furniture

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...

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 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 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 in grey and blue-green designed by Tapio Wirkkala in 1966. Perfect for indoor home decor as container or statement piece for any room. Dimensions: 10 cm diameter...

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...

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...

Pair of Heritage Espana Chests by Dorothy Draper, Stamped, Mid Century Modern A pair of stunning fully refinished chests or nightstand tables by Heritage for Dorothy Draper in a fine ebony lacquered finished with brass circular pulls. Each having the signature three recessed drawer on a bracket base. Fine fully refinished condition. The pair branded. Chests 31.5H 38W 20D The most iconic of Hollywood Regency glam - is Dorothy Draper's España bunching chest. Dorothy Draper (1889-1969), America's most famous decorator, produced her most sought after and iconic pieces - the España bunching chest and the España cabinet - after touring Spain for inspiration at the invitation of the Spanish government whom wished to spark interest in Spain's culture through furnishings emblematic of its rich history and traditions. The España chest is the most readily recognized and certainly the most well-known piece representative of midcentury Hollywood Regency style. Most recently, a pair was featured in the “Sex in the City...

Venini Sconces

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

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

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...

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...

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

The Ancient Greek water vessel sheds its skin, as terracotta gives way to glass, thanks to VENINI. Its design speaks of bygone days and rhythms, bringing them back to life: timeless ...

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

Vintage Acco vase by Alessandro Mendini for Venini, Murano 1997 A vintage art glass vase of the Acco series designed in 1988 by Alessandro Mendini for Venini, Venice. White opaque glass with a colorful overlay in red and a clear glass finish. With incised signature 'venini 97 A. Mendini' on the base and company lable on the body. A great example of the 1980s Italian Memphis Design. 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...

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, ...

Venini chandelier.

Venini sconces.

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...

Chandelier Venini.

VENINI sconces.

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

Venini chandelier.

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

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

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...

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:...

Venini chandelier with Triedri glass prisms of clear glass in beautiful S-shaped gradient.

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...

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...

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...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

A set of 2 "Chiara" table lamp designed by Cini Boeri. manufactured by Venini Murano, Italy, 1984 . Theese pieces of design are constructed of white glass over a subtle rose layer interior...

Laura Diaz de Santillana (b. 1955) for Venini rare Sommersi Oro vase from "Laura" series, Italy, 1993. This elegant hand-blown Murano glass vase is an exquisite blue color with gold ...

Outstanding three tiered rippled Murano glass chandelier by Venini.

Circa 1970-80s, by Venini, Italy. Featuring a refined post-modern silhouette complemented by bold color, this hand-blown Venini vase is superbly proportion...

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...

“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...

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...

Sconces Venini.

Venini chandes.

We are delighted to offer for sale this stunning rare pair of 'Fungo' Murano glass table lamps inspired by Massimo Vignelli. A true statement pair of lamps, well and beautifully ...

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

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...

Venini chandelier.

Colletti series vase in greenish blown glass with two-tone incalmo band decoration designer Alessandro Diaz de Santillana. Venini engraved signature. After graduating in architecture...

Venini Koori aquamarine and concrete vase by babled, unwrapped in box. Concrete band melted with aquamarine glass. Original Venini sticker label and papers. In original foam fitte...

Venini Chandelier.

Murano glass wall or ceiling lamp designed by Toni Zuccheri, made of hand-blown Murano glass with amber tones. Produced by Venini in the 1960s  

Chandelier VENINI.

Looking for lighting that makes an impression? This is the one. From the practical, chunky chain and canopy, underneath we get to a spectacular arrangement of 82 Quadriedri Murano gl...

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 frame.