Lighting

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...

Iconic mid-century Italian Triennale floor lamp. Original design 1947 by Angelo Lelii for Arredoluce Monza, Italy. This model Triennale floor lamp released in late 1960s-1970s by Gin...

Gino Sarfatti, Wall Mirror with Lights, Model 51/b, design 1971, Arteluce Italy 1970s glamour! This fun wall mirror was designed by Sarfatti and pro...

Mid-Century Modern early serie of Arteluce chandelier model 2097 with 50 lights. Designed by Gino Sarfatti in 1958 and produced in Italy. Labeled with the Arteluce early sticker from...

Amazing chandelier by Gino Sarfatti made in Italy in the 1960s. Made out of a metal structure holding 3 milk glass globes. Ball diameter 30 cm. Each ball consists of two parts - transparent and milky white. Gives a beautiful diffuse light emission. Very good vintage condition. Requires three E27 bulbs. The wiring is suitable for all countries in the world. Wiring replaced by professional electrician. Gino Sarfatti played a significant role in the history of industrial design in Italy. Italian engineer Gino Sarfatti started the Arteluce Company in 1939 and would go on to design over 700 lighting products—floor lamps, chandeliers, spotlights, and other light fittings—between the mid-1930s and early 1970s. His work at Arteluce effectively shaped the modern architectural movement in Italy and supported many of the mid-century designers including Franco Albini, Gianfranco Frattini, Sergio Asti, and Ico Parisi. Through his exploration and experimentation with new materials like Plexiglas, diverse production methodologies and techniques as well as light sources, such as halogen bulbs, Sarfatti was a true innovator of Italian lighting and design. The elegance chandelier...

Pulegoso Murano glass chandelier produced in Italy during the 40s by Venini. Great original vintage condition with normal trace of age and use. No cracks or chips. Full working with ...

Rare pair of wall lights, model no. 121 Gino Sarfatti Available four.

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...

Gino Sarfatti vintage midcentury sputnik style chandelier with red and mint green shades. Beautiful time worn patina. Wired for Europe.

Pendant lights model no. '2079' with a perforated yellow lacquered metal construction and opaline glass. Dimensions: H. 30 cm Ø20 cm Design: Gino Sarfatti 1955 for Arteluce Italy....

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...

Italian mid-century modern steel Wall light nr. 232 by Gino Sarfatti for Arteluce, 1960s Pair of wall lights mod nr. 232 with a round metal base. The spherical steel diffuser is supp...

Model 238/1 Design by Gino Sarfatti The single blown opaline glass sphere is gently held by a Black or Champagne painted aluminum ring. The aluminum ring has a small cut, enabling ...

Minimalist model 565 table lamp designed by Gino Sarfatti and manufactured by Arteluce, Italy 1956. This very nice direct table lamp has a cast iron base, c...

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...

By Flos: Since 1958, this iconic Gino Sarfatti design has served as an ultra-modern representation of the traditional midcentury chandelier. Every detail of this state-of-the-art ceiling light is exceptional, from the mirror-polish finish of its main steel structure to the way each bulb is fitted with its own horizontal arm and the graceful wiring meanders down the stem. The Mod 2097 by Gino Sarfatti holds 50 incandescent bulbs, emitting indirect light. It features a ceiling fitting and includes a suspension cable. Inspiration behind the design: Renowned for his contribution to the modern architectural movement in lighting, creator Gino Sarfatti designed the Flos 2097 Chandelier...

Gino Sarfatti rare model 565 table lamp for Arteluce, Italy, 1960s Model 565 a direct light table lamp designed in 1956, has distinctive steel spring that holds the spotlight reflector. Two matching...

Amazing chandelier by Gino Sarfatti made in Italy in the 1960s. Made out of a metal structure holding 3 milk glass globes. Ball diameter 30 cm. Gives a beautiful diffuse light emission. The height of the chandelier can be adjusted from 77 cm to 110 cm with a special adjustment. Width: 70 centimeters. Very good vintage condition. Chrome has damage. Requires three E27 bulbs. The wiring is suitable for all countries in the world. Gino Sarfatti played a significant role in the history of industrial design in Italy. Italian engineer Gino Sarfatti started the Arteluce Company in 1939 and would go on to design over 700 lighting products—floor lamps, chandeliers, spotlights, and other light fittings—between the mid-1930s and early 1970s. His work at Arteluce effectively shaped the modern architectural movement in Italy and supported many of the mid-century designers including Franco Albini, Gianfranco Frattini, Sergio Asti, and Ico Parisi. Through his exploration and experimentation with new materials like Plexiglas, diverse production methodologies and techniques as well as light sources, such as halogen bulbs, Sarfatti was a true innovator of Italian lighting and design. The elegance chandelier...

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

Model 238/1 Design by Gino Sarfatti The single blown opaline glass sphere is gently held by a Black or Champagne painted aluminium ring. The aluminum ring has a small cut, enabling...

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 ...

Table lamp model 613 designed by Paolo Rizzatto & Gino Sarfatti. Produced by Arteluce in Italy.

Set of two wall lamps model 238/2 with supports in white painted metal, lampshades in blown glass and white enameled aluminum, designed by Gino Sarfatti and produced by Arteluce duri...

Seguso Glass Pendants by Gino Sarfatti for Arteluce. Designed and manufactured in Italy, circa the 1960s. Executed in hand blown bubbled Segus...

Gino Sarfatti early red model 566 table lamp for Arteluce, Italy, 1956 Stunning and Iconic Gino Sarfatti model 565 lamp for Arteluce designed in 1956 in rare red color. Additional ...

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

1960s Gino Sarfatti Seguso Bubble Glass 3-Pendant Chandelier for Arteluce. Executed in 3 hand blown bubbled Seguso glass pendants with brass and bl...

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...

Chandelier 2042/3 by Gino Sarfatti for Arteluce. Chrome metal frame, transparent glass globes.

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...

Large sculptural table lamp by Gio Ponti & Toni Zuccheri for Venini, Italy ca. 1966. Refined and monumental design composed of lively blown Murano glass parts on a chic architectonic...

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...

A rare early model 2042/3 ceiling lamp designed by Gino Sarfatti and manufactured by Arteluce, Italy 1960. This version of the 2042 lamp has 3 clear gl...

Gino Sarfatti model 595/P wall lamp for Arteluce, Italy, 1960s in all original condition retaining original sticker label to shade. Additional Information: Materials: Chrome plated ...

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...

Designed by Gino Sarfatti for Arteluce in 1939, rare 'Fuoco d'artificio' chandelier model 2003 executed in the 1950s, Italy. This 24-light sputnik ceiling light is composed of tubula...

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...

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

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...

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...

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...

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

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 ...

Rare adjustable floor lamp mod. 1045 by Gino Sarfatti, Italy, circa 1948. Manufactured by Arteluce. Brass, lacquered metal. Base 34 x 34 cm H min-max 10...

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...

“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...

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...

Rare 1960s Murano "Champagne" blown glass lantern by Venini. Six lights.

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...

Gino Sarfatti was an Italian designer and businessman born in 1912 in Venice. After studying aeronaval engineering in Genova, he founded the Arteluce company in 1939 in Milan. Its purpose is lighting fixtures, lighting applications, furniture components as well as the study and manufacture of furniture. He won many international awards, including, in 1954 and 1955, the Compasso d'oro, with models 559 and 1055. In December 1973, the year he won the Gold Medal at the 15th Triennale, he sold the company, which is no longer in operation today. Here we have set of 6 wall lamps...

VENINI table lamp

Gino Sarfatti lamp model 2065. Black white diffuser, black hardware, black cable. Manufactured by Astep Model 2065 Design by Gino Sarfatti The 2065 is made of two joined opali...

Model 2042/3 Design by Gino Sarfatti The two blown opaline glass spheres are gently held in place by two Black, or Champagne, painted aluminum rings. Each ring has a small cut, ena...

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...