Chandeliers and Pendants

MiCarlo Scarpa Poliedri Chandeliers for Venini, Murano, Italy, 1960s. We have two exquisite mid-century Venini Murano glass chandeliers for sale, designed by Carlo Scarpa in Italy...

Exceptional 1940 chandelier. Murano Venini. Amber red borders.

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...

This striking esprit chandelier was produced by Venini during the 1970s. Explosion of flowers, made with amber and clear precious Murano glasses. C...

Very decorative and beautiful chandelier made of brass, fitted with for E14 Sockets. Made in Italy in the 1950s, by the famous well known Stilnovo Manufacturer. The Fixture requires ...

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...

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 ...

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

“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...

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...

Stilnovo Chandelier.

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

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...

An extremely rare, oversized ceiling pendant model 622 designed and manufactured by Stilnovo, Italy, 1959. This large sized tear drop shaped pendant lamp is very impressive because o...

Vintage Chandelier by Stilnovo, 1970s. H 110 x 50 cm. Good conditions!

This is a very stylish mid-century Italian ceiling light by Stilnovo. Made from brass with a black shade. The overall design is effortlessly stunning with its minimal profile and s...

Huge and original brass sputnik plafond/chandelier produced by Stilnovo circa 1950.Twenty brass arms.Rewired for European/Usa E14 bulbs.Stunning condition,Brass cleaned and rewired.B...

A unique vintage Stilnovo chandelier in pure mid century style. The chandelier, manufactured in Italy in the mid-1950s by iconic Stilnovo company, is made of six brass arms and six frosted glass lampshades...

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...

Stilnovo Height of glass only 31cm.

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...

Venini chandes.

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...

1960s stilnovo five-light pendant, metal frame and brass opal glass diffusers. Completely original condition, working.

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

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...

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

VENINI Chandelier

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 ...

Pair of Midcentury Italian brass pendant lamps by Stilnovo from the 1950s. With 24 light points each (E14) on a construction of brass tubes ...

Impressive brass chandelier by Stilnovo, Milano Italy. 24 bulbs. Last picture shows smaller version of this fixture in Tamara Mellon's penthouse flat.

This luminous modernist glass chandelier features numerous handblown Murano translucent glass polyhedral shades. Each glass polyhedral shade...

Made in Italy, 1950s. It features six arms and is made in varnished aluminum, brass and glass. This chandelier may show slight traces of use since it's vintage, but it can be consid...

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

Cosmo.

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...

Rare Stilnovo ceiling light or lantern with a long satin glass diffuser, bright red acrylic shade and brass hardware from the 1950s. Four origin...

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...

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...

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...

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

Venini chandelier “Toni Zuccheri “Murano glass metal crome iron 1950 Italy.

Impressive Italian pendant chandelier of 1950s Stilnovo manufacture. The chandelier is made of tubular brass and painted aluminum. Its lamp holder cap is formed by a large oval hemis...

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...

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...

Stunning Murano glass chandelier designed by Venini for Kalmar, 1960s Three tiers brass structure gather many structured glasses, beautifully refracting the light very heavy quality...

Wonderful multi-level Murano Triedri glass chandelier from the 1960s by Venini. The chandelier brings a wonderful atmosphere to every room. A matching p...

This Stilnovo brass and satin opaline glass 6 globe chandelier hails from Italy's 1950s era of design, a period renowned for its innovative and luxurious approaches to lighting. The ...

Rare Stilnovo Sputnik chandelier, circa 1960. Two large interlocked brass rings with eight lacquered cones 'orbiting' a large central globe. The color...

Beautiful Italian Stilnovo chandelier with 3 oversize spheres in opaline glass. The chandelier is very elegant and will complete a midcentury Home. STUNNING.  

Large 18-light chandelier with brass structure and opaline glasses. Shaped metal ceiling plate. Stilnovo production, 1960s.

Graceful stilnovo semi-flush mount with a lacquered aluminum shell and a textured frosted glass shade. Brass fittings and canopy. Holds 3 E26 sockets. Marked with the original Stilnovo label...

Stilnovo light fixture featuring a "doughnut" shaped glass shade on a perforated frame. The frame holding six light points is lacquered black wi...

Italian Modern Brass, Glass and Enameled 3-Light Chandelier, Stilnovo.

A rare Stilnovo brass and glass six-light chandelier, Italy 1950s. Elegant design in Mid-Century style with green white striped glass orizontal tulips. This wonderful piece is is fin...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

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...

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