Chandeliers and Pendants

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...

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...

handcrafted tiered chandelier in mottled, cylindrical form vibrant chartreuse colored Murano glass by Venini. Italy, 1960s. .

Italian mid century chandelier with 12 Murano glass tubes and 1 big glass plate at the bottom. Set on a chromed steel base with original vintage patina. Light has 4 bulbs. Made by Ba...

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...

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...

Venini chandelier.

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

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...

Carlo Scarpa ceiling lamp 1938 Ceiling lamp designed by Carlo Scarpa and manufactured by Venini Murano Clear and Lattimo “ a fasce” gla...

VENINI Chandelier

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

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...

Midcentury ORIGINAL modern signed Italian spiral chandelier manufactured by Venini Marked “VENINI SAS MURANO MADE IN ITALY” Multiple tiers of Italian Murano crystals cut into triang...

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 rare pendant light designed by Tea Morosati and manufactured by Stilnovo in the early 1960s. This particular Stilnovo lighting fixture has a very elegant brass structure with a di...

A round vintage Mid-Century modern Italian raindrop chandelier, pendant made of hand blown smoked Murano glass, designed by Ercole Barovier and pr...

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

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...

The Black Glass Chandelier by Barovier & Toso is a stunning piece of lighting art that showcases the Venetian glass-making skills of the Barovier & Toso brand. The chandelier feature...

Barovier e Toso Chandelier Murano glass brass iron 1940 Italy.

Mid-Century Modern XL Venini chandelier. The light consists 162 original Murano glass crystals on a metal base consisting of 3 tiers. A true jewel for your home. Details Creator:...

Outstanding three tiered rippled Murano glass chandelier by Venini.

Venini chandelier.

Barovier & Toso Rostrato ice glass chandelier, Murano, Italy 1970s. 8 lights e27, heavy clear hand-blown glass , rewired Lamp body 31 x 15 x 10 inches, original total height 26 in...

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...

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...

Extraordinary piece in Murano glass. Handblown "reticello" glass, typical example of the renowned Venetian glassworks. Measures: Total height 95 cm. Height glass lantern: 34 cm. Large glass lantern...

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

A vintage Mid-Century Modern Italian chandelier made of hand blown smoked Murano glass, designed by Ercole Barovier and produced by Barovier & Toso in good condition. The detailed ta...

A wonderful Italian hollywood regency pendant light by Venini manufactured in Mid-Century in the 1960s. It is made of pairwise curved crystal Murano...

The incredible beautiful chandelier made of Murano glass Tronchi by Toni Zuccheri for Venini. Made in Italy in the 1960s. Designer Toni Zuccheri for Venini & Co. Venini & Co. played ...

Chandelier VENINI.

This elegant piece consisting of a brass frame and 2 unique decorated glass reflectors/dishes. The lower and upper round curved glass reflectors are decorated with yellow lines that...

A pendant light made in 'zanfirico' Murano glass by Venini, circa 1960. Suspended by a brass chain with circular links and domed ceiling rose. In excellent condition. Can be wi...

Mid-Century Modern Venini chandelier Murano glass from a Palm Beach estate Measurement of the chandelier portion itself is 13 5/8 height x 13 1/2 diameter Including the chain a...

A Venini hand blown Murano glass "Filigrana" sphere pendant, Italy, 1950s, atributed to designer Carlo Scarpa. Brass mounted in conical shape showing its elegant and clean lines desi...

Murano glass chandelier designed by Venini, Murano, 1940s. It is made from Murano art glass and is composed of 3 glass cones set on a brass base. The glass is made using the techni...

Stunning Mid Century White and Crystal "Tessuto" Murano Glass Chandelier. This beautiful object was produced in Italy in the 70s by Venini. Woven Glass created by Carlo Scarpa for Venini in the 1930s; similar to filigree but obtained using very thin reeds joined with alternating colors and flattened to form strips similar to fabric ribbons, joined and manipulated to obtain the desired design. This is an exceptionally beautiful chandelier due to the state of the piece, the size of the light but above all the subtlety of the Tessuto Murano Glass. A stunning piece of lighting with infinite elegance that will complement an art deco or mid-century living room or entryway perfectly. The Chandelier uses a single E26/27 light bulb. Scarpa was born in Venice. Much of his early childhood was spent in Vicenza, where his family moved when he was 2 years old. After his mother's death at the age of 13, he moved with his father and brother to Venice. Carlo attended the Academy of Fine Arts where he concentrated on architectural studies. Graduated from the Academy of Venice, with the title of Professor of Architecture, he was apprenticed to the architect Francesco Rinaldo. Scarpa married Rinaldo's niece, Nini Lazzari (Onorina Lazzari). However, Scarpa refused to take the pro forma...

Sculptural Italian chandelier from the famous house Venini dating from the 40/50s. Structures in white lacquered metal (original paint) and rectangular diffusers in transparent Muran...

“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...

Carlo Scarpa Murano Glass Poliedri ceiling lamp for Venini in yellow and Grey, Italy 1950s.

Venini chandes.

Venini Murano chandelier with 88 lights, no chips. 4x E27. To be on the the safe side, the lamp should be checked locally by a specialist concerning local requirements.

Vintage Italian pendant with frosted Murano glass globe with hand blown white Murano glass stripes, mounted on chrome hardware / Designed by Venini circa 1960s / Made in Italy 1 ligh...

Venini Chandelier.

A pair of Barovier e Toso chandeliers. A beautiful matching pair of 1940s Barovier e Toso Chandeliers each constructed of 10 overlapping heavy hand blown Peleguso glass leaves, ever...

Venini or Murano wall mounted chandelier with six-light sources. Leafs of glass with gold details. Extra ones included, one of the extras wi...

Chandelier Venini.

Looking for lighting that makes an impression? This is the one. From the practical, chunky chain and canopy, underneath we get to a spectacular arrangement of 82 Quadriedri Murano gl...

Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...

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 ...

Nastri 905.03 SOSP CRISTALLO Additional information: Material: glass Colour: crystal Light source: 3 x max 12W LED R7S Finishes: chrome metal Dimensions: W 120 x H 35 cm

VENINI Ceilling Light

Classic Venini Murano dark orange and white, cased glass pendant chandelier. Very elegant UFO-"disco volante" shape. Height can be adjusted to desired length.

Round Italian Blu Murano glass Venini 1960 brass gold.

Magnificent chandelier with six arms gold amber color . The chandelier comes from a roman private collection . The light bulbs can be adapted to US bulbs.

Like notes breaking through the silence and creating rhythm, glass flows through metal structures, turning into lanterns. Rhythm, designed by I M Lab, is the quintessence of the art ...