Lighting

VENINI Chandelier

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...

Three model 1073/3 lamps in steel, aluminum and craquelé metal base, by Gino Sarfatti. Prod. Arteluce, Italy, 1956 cm 207x24x24 (large) cm 198x24x24 (medium) cm 183x24x24 (small) ...

An exceptional Mid- Century Modern oval chandelier by Venini ( Founded 1921 in Milan, Italy by Paolo Venini and Giacomo Cappellin). The stylish two-tiered chandelier features hand-blown Murano glass triede elongated prisms that dance in the light attached by two rods and rectangular ceiling...

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...

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

Gino Sarfatti floor lamp Model 1086 for Arteluce, Italy 1961. Variably adjustable tube construction in black enamelled steel and aluminium., swivelling joint for both horizontal and ...

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 ...

Beautiful table lamps in orange and green hand-blown Murano glass. Designed by Ettore Sottsass for Venini and manufactured in 1994. The glass shade is signed "Venini ". We have the ...

Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s Original mark on the frame Measures:...

Very rare modernist wall lamp model no. 205 designed by Gino Sarfatti in 1955 and made by Arteluce. The light has a black lacquered shade with an white opaline glass diffuser on one ...

Model 2042/6 Design by Gino Sarfatti With Le Sfere Plafone, Model 2042/6 from 1963, another of Gino Sarfatti’s beautiful interpretations of the luminous sphere is reintroduced. The...

Pair of vintage Venini wall sconces Murano glass 1970s orange and white. Made by 14 prism triedri. The total dimension is H 37 x 24 cm Perfect condition and fully workig; normal and...

Venini Trilobo Murano glass and steel chandelier circa 1960 Made in Italy Will require four chandelier bulbs. Venini—the world famous Italian gl...

Murano glass chandelier by Toni Zuccheri For Venini. Our unusual vintage Italian chandelier, pendant or lantern is comprised of...

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

This ceiling light in the model 2042/3 was made by Arteluce Milano, designed by Gino Sarfatti. Condition is excellent and bares the original label of "Arteluce".

Model 548 Design by Gino Sarfatti The table lamp designed in 1951 is a study in balance and light reflection through a screen, a recurring theme in Gino Sarfatti’s work. Model 548 ...

NEW OLD STOCK Modell 600 / c Lamp by Gino Sarfatti for Arteluce. Slight wear due to storage.

Vintage Italian chandelier with clear Murano glass tubes made in Rostrato technique hanging from silver painted metal frame. Made by Venini, Italy, circa 1960s. Dimensions: 32"H x...

Italian Mid-Century Modern design set of three scones wall lamps designed by Massimo Vignelli and produced by Venini with Murano adjustable glass diffusers and brass frame, Italy, 19...

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...

Flushmount by the renown Italian designer Gino Sarfatti, model 2042/6 made of an enameled metal structure, frosted glass globes and aluminum diffusers.

Marvelous Mid-Century Modern, stunning design, chrome & glass flowers fixture. This aesthetically pleasing and very rare design, Murano glass pendant is in good condition and read...

Italian modern steel, marble and Murano glass Ratrih floor lamp by Ettore Sottsass for Venini in 1994. Ratrih model floor lamp, with round marble base...

Gino Sarfatti, chandelier, Model 2097/30, circa 1970 the bulbs will have to be changed for the USA price is for one two are available.

Model 548. Design by Gino Sarfatti. The table lamp designed in 1951 is a study in balance and light reflection through a screen, a recurring theme in Gino Sarfatti’s work. Model 54...

Model 548 Design by Gino Sarfatti The table lamp designed in 1951 is a study in balance and light reflection through a screen, a recurring theme in Gino Sarfatti’s work. Model 548 ...

Set of2 black table lamps mod. 600/C designed by master Gino Sarfatti, manufactured by his own Arteluce. Designed in 1966, produced 1960 - 1969 Lacquered aluminium. The leather base is filled with small lead balls...

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Set of 2 black & white table lamps mod. 600/C designed by master Gino Sarfatti, manufactured by his own Arteluce. Designed in 1966, produced 1960 - 1969 Lacquered aluminium. The leather base is filled with small lead balls...

Early and very rare extandable counterweight suspension designed by Gino Sarfatti in 1938, Mod. No. 2007. Manufactured by Arteluce in the 193...

Pendant light, model no. 2079, by Gino Sarfatti, design 1955, manufactured by Arteluce, Italy. Micro perforated lacquered aluminium shade over an opaline glass diffuser. Completely...

Gino Sarfatti model no. 2065 wall lamp for Astep. Designed in 1950, this is an authorized Astep/Flos re-edition by Alessandro Sarfatti, grandson ...

Rare and early table lamp by Gino Sarfatti for Arteluce. very futuristic for a lamp made in 1956!

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Gino Sarfatti lamp model 2065. White diffuser, black hardware, white cable. Manufactured by Astep Model 2065 Design by Gino Sarfatti The 2065 is made...

Great condition with no chips or cracks for this chandelier made from rare pink "bullicante" glass and designed by Tomaso Buzzi for Venini. Italy 1930s. Full working with EU standard...

A hand-blown amber coloured 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 medium high version. Please note that the last photo is only to indicate the size of the lamp; the lamp used there is actually a different (but also amber colored) lamp. The Fungo lamp...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Mid-Century Modern Italian chandelier by Venini. Each of the prisms is solid glass, measuring 11 inches and 4 inches. They hang from hooks onto a chrome frame, as pictured. Any amoun...

Venini chandelier.

Vintage 1094 Floor Lamp by Gino Sarfatti (1912-1985), realized for Arteluce in 1969. Carrara Marble Base. Steel structure and independently adjustable milk glass lampshades. H160 x...

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...

Spectacular vintage Italian Venini Murano glass chandelier made of hand blown opaline and cream glass with 23 carat "polvero d'oro" throughout (gold leaf flecks). Exceptional quality...

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...

Round Italian Venini glass chandelier from the 1970s with 169 polyhedron glass pieces.

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...

1960s Gino Sarfatti metal and Seguso glass pendant for Arteluce. Executed in hand blown bubbled Seguso glass and painted metal. The simplicity of Sarfatti's design and the sculptural...

Gino Sarfatti lamp model 2065. White diffuser, black hardware, white cable. Manufactured by Astep Model 2065 Design by Gino Sarfatt...

“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...

Pair of Gino Sarfatti Pendants Model 2095/1 by Arteluce, Italy, 1958. Blown glass pendant lights with clear glass globe shades, aluminum hardware and long cords. These pendants do no...

A beautiful midcentury table lamps designed by Gino Sarfatti for Arteluce in 1968. It is fascinating with its beautiful brown shade and plexiglass body. The lamps are in very good vi...

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

Midcentury Italian tubular brass and wrapped in leather tripod floor lamp Designed by Gino Sarfatti circa 1946/48 Brand New Shade Original condition.

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 ...

Gino Sarfatti lamp model 2065. White diffuser, black hardware, black cable. Manufactured by Astep Model 2065 Design by Gino Sarfatti The 2065 i...

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