Furniture

Venini Monofiori glass vase in amethyst by Laura de Santillana. “Monofiori” blown handmade glass with stoppers in various forms and colors. Item labeled as “03”, as shown in the imag...

Venini Monofiori glass vase in apple green by Laura de Santillana. “Monofiori” blown handmade glass with stoppers in various forms and colors. Item labeled as “05”, as shown in the i...

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 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...

Large Four-Panel Folding Screen or room divider by Piero Fornasetti displaying windmills and a city center. The reverse decorated with an Italian forestscape print.

“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...

Venini glass vase with full body and textured surface with hexagonal shaped pattern in aquamarine designed in 1970. Perfect for indoor home decor as container or strong statement pie...

Venini glass bowl in green with geometric textured surface. Perfect for indoor home decor as container, vide-poche or statement piece for any room. Also available in other colors on ...

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

Glass table lamp with an interesting shape and two-tone coloring. Its sleek design and muted color pallette make it a modern, simple and understated lighting option for any space. Al...

Glass hanging pendant or suspension light with an interesting shape and two-tone coloring. Its sleek design and muted color pallette make it a modern, simple and understated lighting...

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 shaped body and neck in sapphire designed in 2017. Perfect for indoor home decor as container or statement piece for any room. Also available in other colors o...

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 slim, oval shaped body and funnel shaped neck. Featured in aquamarine colored glass. Perfect for indoor home decor as container or strong statement piece for a...

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

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...

Seven Piero Fornasetti Shaped Ceramic Dishes in Legumi Pattern, 1950s. The set of seven crescent-shaped Piero Fornasetti ceramic Salad dishes are each decorated with a different nam...

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...

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...

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...

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 ...

Murano Glass Vase

Piero Fornasetti, serving trolley, wood, brass, glass, Italy, 1960s Serving trolley or bar cart created by Italian designer Piero Fornasetti. The whole construction of this servin...

Pair XXL Venini Wall Chandeliers with Murano Amber and Ice Glass, Italy 1960 We're selling a pair of gorgeous Venini Wall chandeliers from the 1960s, each featuring hand-blown Murano glass in amber and ice tones. These Italian-made lamps are ideal for any space, from midcentury to Hollywood Regency. Choosing Mid-Century Lighting is a sustainable and eco-friendly option that breathes new life into a quality product with a rich history. The signs of wear add character and tell a story of the previous owner's life. These elegant lights are compatible with US/UK/ASIA standards and LED lighting, featuring three E27 sockets. We've cleaned and wired them for immediate use, and the frames are in excellent condition, with a minor patina on the metal parts. You can easily disassemble the sconces for transport, and each glass piece can be wrapped individually. They measure 38 cm in width, 20 cm in depth, and 80 cm in height. Make a statement in your space with these delicate yet beautiful lights. - Priced for a pair of two wall lights...

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...

Sublime Piero Fornasetti umbrella stand crafted from hand silk screened and lacquered metal. Trompe l'oeil vasi antichi or antique vases features Greco-Roman decorated vases in a cur...

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...

Vintage Fornasetti Porcelain Themes & Variation Plate #74 The Clock, Atelier Fornasetti, 1990s The Surreal Fornasetti porcelain plate in the Themes & Variation pattern depicts ...

Exceptional 1940 chandelier. Murano Venini. Amber red borders.

A large 1960s Italian Venini Murano glass shaded brass arc lamp, with barley twist brass stem mounted on a black lacquer base. Re wired with antique gold cord flex, switch and PAT te...

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

Venini Desk or Table Clock

This striking esprit chandelier was produced by Venini during the 1970s. Explosion of flowers, made with amber and clear precious Murano glasses. C...

A cylinder shaped amber coloured pendant designed and produced by glass specialist Venini. This model is designed in the 1950s, but this is a more recent production. The lamp i...

Centerpiece VENINI.

Vintage Set of Six Piero Fornasetti Porcelain Rosoni pattern plates depicting Rosettes 1980s, The dramatic plates depict six different large black and white flower-shaped rosettes on a gilt ground. Dimensions: 10 inches diameter x 1 1/4 inches high. The plates are numbered 1-6, each a different design. Mark: a printed black and white flower with the name ROSONI above the Fornasetti hand...

Pair of Murano Glass Sconces by Toni Zuccheri For Venini. This beautiful pair of Italian mid-century sconces have been newly wired with new sockets for the U.S. market.

Rare and spectacular set of Miniature Prototype Table and Chairs by Piero Fornasetti, Italy circa 1970's. The chairs are stamped 'Fornasetti Milano' ...

Toni Zuccheri's design for Venini's chandelier in the late 1960s is truly remarkable. The combination of Murano glass, brass, and chromed steel creates a stunning visual effect that ...

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

Fulvio Bianconi model 1329 “Pezzato” vase for Venini, Italy, 1950s Additional Information: Materials: Polychrome patchwork glass Dimensions: 9 1/4" H x 6 1/2" Dia. Condition: Excell...

Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano 1950s A rare Fazzoletto (handkerchief) vase in transparent glass with whit...

About the Pezzato arlecchino bottle shaped vase by Fulvio Bianconi Mouth-blown vase, the model designed in 1950. This color variant is often called “Arlecchino” by collectors. It i...

“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...

Piero Fornasetti Porcelain Mesi & Soli Plates, "12 Mesi, 12 Soli", Twelve Suns, Twelve Months, Eight Plates, Mid to Late 1950s. Piero Fornasetti's "12 Mesi 12 Soli" series numbered 1, 2, 3, 4, 5, 7, 8, and 10, showing the sun as a woman's face and each one representing a different month- May & June. Dimensions: 10-inch diameter x 1-inch high. The Piero Fornasetti Mesi & Soli Pattern Plates are a series of twelve porcelain plates that were designed by the Italian artist Piero Fornasetti in the 1950s. Each plate features a different month of the year, represented by a sun with the face of a woman. The plates are decorated in a whimsical and playful style that is typical of Fornasetti's work. The Mesi & Soli Pattern Plates were inspired by a calendar that Fornasetti created in 1942 for his friend, the Italian publisher Gio Ponti. The calendar featured a series of drawings of the sun with the face of a woman, and Fornasetti later adapted these drawings for the plates. The Mesi & Soli Pattern Plates were first produced in the early 1950s. Mark: Each with Piero Fornasetti printed...

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...

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...

A fabulous light-colored and black version of the tromp l’oeil Tabby cat designed by Piero Fornasetti. Originally designed and produced in the mid-1950s as per the Fornasetti catalog...

Glass and bronze sculpture. Work made with applied feathers in opaque and transparent polychrome glass produced directly by Toni Zuccheri in 2007. The base and skeleton are in lost-w...

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...

Piero Fornasetti Rosenthal Porcelain Themes And Variations Plate, Motiv Number 28, 1980s The striking Rosenthal Fornasetti gold-rimmed black and white printed plate with the fa...

A rare capital “Coreano” Artglass-object, model 504.4 in freeblown applegreen and turquoise glass. Designed in 1966 and handmade by the craftsman of the Venini glassworks on the Isl...