Chandeliers and Pendants

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...

Nickeled brass, faceted glass and colored glass. A rare, "Organo" chandelier with 5 cylinders of varying lengths, each housing a single E26 socket and capped with a faceted glass len...

Max Ingrand for Fontana Arte chandelier. Thick blades of glass, nickel brass Eighteen light. Re wired for the USA and Europe.

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 ...

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...

Rare Fontana Arte chandelier model 2362 designed by Max Ingrand in the 1960s. Its hexagonal form is composed of twelve frosted glass tiles with hand chiseled centers. Brass details a...

Some notes about the author Max Ingrand: a famous French master glass worker and decorator, he was artistic director of FontanaArte for one decade, starting from 1954. During that ti...

Bibliography: Max Ingrand, du verre à la lumière, Martin-Vivier, pag. 198 Fontana Arte 1, Illuminazione - Catalogo del produttore, pag. 18 Domus 334, settembre 1957.

A '1748' model ceiling light designed by Max Ingrand and artist Duilio Barnabé for Fontana Arte in 1957. A tapered, polished brass cent...

Lampadario Max Ingrand Fontana Arte.

Rare Max Ingrand Fontana Arte pendant lamp Mod. 1995, Italy, 1960. Dimensions 7.87" x 12.6" (cone shade only) Original conic lantern with a dark finish, mounted with faceted ...

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

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...

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...

“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...

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 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...

Fontana Arte ceiling light model 1748 designed by Max Ingrand in the 1950s. Features a beautiful thick glass shade with beveled e...

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...

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...

VENINI Chandelier

Production by Fontana Arte Milan, 1960s Metal cap and molded and beveled thick It has an E27 light socket.

Embodying Max Ingrand's signature elegance, this ceiling light marries functionality and aesthetics. Crafted during his directorship at Fontana Arte, it showcases his skilled use of ...

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

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...

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...

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 ...

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...

Polished, chiseled & satin glass tiles, sating glass, brass, painted metal. Hexagonal form, with hand-cut glass tiles with acid-etched face and chipped center. Fixture has 12 x E12, ...

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

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...

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...

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

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...

An iconic design pendant by Max Ingrand for Fontana Arte, Model 1933, Italy, 1961. Organically shaped double lens cut panels of thick profiled polished Murano glass with sandblasted ...

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

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...

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...

This large 35 inch diameter glass ceiling mounted chandelier # 1508 by Max Ingrand for Fontana Arte is very RARE and ALL original vintage. Wonderful patina to brass ring diffuser - l...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Rare "Dahlia" chandelier by Max Ingrand for Fontana Arte. Brass, colored glass, nickeled brass. 16-arm fixture of oxidized brass and nickeled metal. Each arm has an elongated blue gl...

Venini chandelier.

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...

“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...

Add a touch of classic Italian craftsmanship to your home with this stunning Venini chandelier from the 1960s. The octagonal shape and chrome structure perfectly complement the four...

It brings to mind orderly rows of bell-shaped flowers, as fine as glass. But it also evokes the exotic beauty of the Far East and the ornate Baroque sty...

Viewers feel compelled to touch every single petal of its flowers and every single point of its stars, to make sure they’re real. Esprit conveys the power of nature and of light. Esp...

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

Max Ingrand (French 1908-1969) Ceiling light model number 2088.-1959 Partially opaque glass - nickel plated brass Size :Diameter 71cm (28.7/8 inches) Drop: 108 (43.5inches) long st...

Viewers feel compelled to touch every single petal of its flowers and every single point of its stars, to make sure they’re real. Esprit conveys the power of nature and of light. Esp...

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:...

It was back in 1958 when this impressive chandelier made its debut at the Brussels Expo, standing out in the middle of the Italian pavilion. Since then, ...

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...

Venini chandelier.

1960s Italian Murano glass globe by Venini.

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...

A work of art. More than that, a myth. Gio Ponti 99.81 owes its undisputed modernity and originality to the boundless creativity of its creator, Gio Ponti. Its uniqueness lies in its...