Furniture

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...

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...

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...

Striking art glass vase ice bucket by Venini for Disaronno. Beautiful amber glass with a white striped drizzle.

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...

Chandelier "Esprit" in Murano hand blown glass and chrome metal. Designed by Toni Zuccheri and produced by Venini in the 1970s. Bibliography: - Domus 436 (marzo 1966), advertising...

Italian modern black leather Three-seater sofa by Gastone Rinaldi for Rima, 1970s Three-seater sofa with seat and backrests padded and covered in black faux leather. The legs and the...

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...

Centerpiece VENINI.

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...

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 elegant Murano glass chandelier made in Italy in the 60s. Designer Toni Zuccheri for Venini & Co. Venini & Co. played a leading role in the revival of Italy’s high-end glass indu...

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...

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 ...

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...

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

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 ...

"Triete" glass stems were curved on both ends while in fusion to give these pieces a great dynamic shape. A beautiful pair of wall sconces in crystal clear glass on a chromed steel s...

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...

Venini Desk or Table Clock

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 ...

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...

An amazing flush mount chandelier crafted in Murano glass and gilded brass, designed by Carlo Nason for Venini, Italy. Measurements: diameter 17.3" in. (44 cm), height 21.65" in...

A Fazzoletto vase in green and light green opaline glass with clear glass overlay. It was manufactured in 2015 by Venini, Venice after a design of Fulvio Bianconi. On the base there ...

Very rare dining/office table designed by Gastone Rinaldi for Rima, Italy 1970s. Stylish oval dining table that could also be used as an elegant office desk. Dimensions: 70,5cm H...

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...

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 ...

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 ...

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

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...

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...

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

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...

VENINI table lamp

Stunning and rare Murano ceiling lamp by Venini, 1960s. Off-white glass with a white decor. Details Creator: Venini, Murano Materials and Techniques: Brass, Murano Glass Width...

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...

Poliedri applique, suspension lamp and wall sconce, designed by Carlo Scarpa and manufactured by Venini, were originally designed in 1958. Indoor use only. Dimensions: Ø 81 cm, H...

Stunning Venini midcentury Murano Triedri Chandelier. In a very desirable whale tail form. Features glass crystal prisms on polished steel frame. Takes 7 standard bulbs. Lead wire is...

Spectacular, dazzling, elegant, beautiful. All is little for this flush mount chandelier. Piece by Venini made up of a brass-plated base with chains from which hang 48 Venetian Tri...

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...

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

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/...

Made in Italy, 1940s. This tiny bonbonniere is made in sommerso Murano glass, with gold flakes and few bubbles due to the process of glass blowing. It is a vintage piece, but it can ...

VENINI Chandelier

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...

Venini Art glass vase 'Bolle ' by Tapio Wirkkala for Venini, Murano 1966 A vintage art glass vase of the 'Bolle' series. Thin mouthblown straw and applegreen glass fused in incalmo technique. Designed by Tapio Wirkkala in 1966 and manufactured by Venini Murano Venice in 1981. Venini model number 503.02. Signed with incised signature 'venini italia tw 81' 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...

“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...

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

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 ...

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...

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...

This pendant lamp was designed by Paolo Venini for Venini during the 1970s, in Italy. It features a brass plate were dozens of frosted glass drops fall creating a layering effect wit...

Rare Gio Ponti bottle for Venini designed in the 1950s from the Morandiana series. This example is a 1960s edition, acid-etched venini murano italia signature under the base, origina...

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

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

Rare large Venini wall lights from the 1940s. Minimal patinated brass hardware with large tapered textured glass diffusers which have an iridescent coatin...

Amazing vintage chrome chair by G. Rinaldi for RIMA from Italy, circa 1970. Perfect lines a chic futuristic & beautiful.

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...