Large Venini Bowl 'Coreano', Designed by Tapio Wirkkala in 1966

Beginning in the 1930s — and throughout the postwar years especially — Venini & Co. played a leading role in the revival of Italy’s high-end glass industry, pairing innovative modernist designers with the skilled artisans who created extraordinary chandeliers, sconces and other lighting in the centuries-old glass workshops on the Venetian island of Murano.

While the company’s co-founder, Paolo Venini (1895–1959), was himself a highly talented glassware designer, his true genius was to invite forward-thinking Italian and international designers to Murano’s hallowed workshops to create Venini pieces — among them Gio Ponti, Massimo Vignelli, Finnish designer Tapio Wirkkala, Thomas Stearns of the United States and Fulvio Bianconi.

Paolo Venini trained and practiced as a lawyer for a time, though his family had been involved with glassmaking for generations. After initially buying a share in a Venetian glass firm — he and antiques dealer Giacomo Cappellin established Vetri Soffiati Cappellin Venini & C. in 1921 — Venini took over the company as his own in 1925, and under his direction, it produced mainly classical Baroque designs.

In 1932, Venini hired the young Carlo Scarpa— who would later distinguish himself as an architect — as his lead designer. Scarpa, working in concert with practiced glass artisans, completely modernized Venini, introducing simple, pared-down forms; bright primary colors; and bold patterns such as stripes, banding and abstract compositions that utilized cross sections of murrine (glass rods).

Paolo Venini’s best designs are thought to be his two-color Clessidre hourglasses, produced from 1957 onward, and the Fazzoletto (“handkerchief”) vase, designed with Bianconi in 1949. Bianconi’s masterworks are considered by many to be his Pezzato works — colorful vases with patterns that resemble those of a patchwork quilt.

Other noteworthy and highly collectible vintage Venini works include Ponti’s dual-tone stoppered bottles (circa 1948); rare glass sculptures from the Doge series by Stearns, the first American to design for the firm; Vignelli’s striped lanterns of the 1960s; the Occhi vases with eyelet-shaped patterns by Tobia Scarpa (son of Carlo); and, with their almost zen purity, the Bolle (“bubbles”) bottles designed by Wirkkala in 1968. 

With these works — and many others by some of the creative titans of the 20th and 21st centuries — Venini has produced one of the truly great bodies of work in modern design.

Find antique and vintage Venini chandeliers, serveware, table lamps, decorative objects and other furniture on 1stDibs.

Along with architect Alvar Aalto, the designer Tapio Wirkkala was Finland’s leading contributor to the Scandinavian interpretation of modernism in the mid-20th century. Prolific and innovative, Wirkkala excelled in a wide range of fields, including glass, furniture, porcelain, jewelry and tableware. The hallmark of his talent was an ability to impart a craft aesthetic based on natural forms — leaves, ice, bubbles, birds — to industrially produced designs.

A native of Helsinki, Wirkkala studied at the national School of Applied Arts and took up a career in graphic design. After serving in the Finnish army during World War II, he joined the glassmaking firm Iittala, an association that would continue to the end of his life. Wirkkala learned every aspect of glassmaking in keeping with his belief that an artist-designer should be involved in all stages of production. His best-known works for Iittala are vases and drinking vessels that resemble either carved ice or icicles. In 1956, Wirkkala began a long relationship with the porcelain maker Rosenthal, for whom he designed elegant table pieces, such as the Finlandia coffee service and the biomorphic Pollo vases. 

House Beautiful magazine declared Wirkkala’s Leaf platter the “most beautiful object” of 1951. (The acclaim led to his brief employment stint with industrial designer Raymond Loewy in New York.) That platter was one of the first designs Wirkkala made using laminated sheets of plywood sanded to a smooth surface that resembles an abstract leaf. It would go on to become a motif in many Wirkkala furniture pieces — most notably in inlaid coffee tables for Asko — and in a sense these are the works most emblematic of his personal aesthetic.

Wirkkala was a traditionalist in many ways, but he had a modernist’s practical approach, incorporating his leaf-like spirals into simple, functional objects. That is the core attraction of Wirkkala’s designs: They stand out with a striking, sculptural energy yet blend in as part of a warm and comfortable decor.

Find vintage Tapio Wirkkala furniture on 1stDibs.