Chandeliers and Pendants

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.

Ceiling lights by Stilnovo. Designed and manufactured in Italy circa the 1960s. Structural pillar like pendant consisting of opal glass on a minimal enameled black and brass stem. Ho...

STILNOVO, 1960s Two white enameled lanterns with clear and opaline glass diffusers, nickeled mounts. Could be mounted as ceiling lights. Rewired for the U.S. with one standard base b...

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...

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...

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...

Stilnovo. Coppia di lampadari originali anni 50. Metallo colore originale - ottone - vetro bianco satinato.

Iconic 1950s Italian chandelier design for these circular Stilnovo light fixtures with a mid-century modern organic and airy structure supportin...

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...

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...

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:...

A gold-white, vintage Mid-Century Modern Italian chandelier, pendant made of hand crafted polished brass, designed and produced by Stilnovo in good condition. The small round sputnik...

Large 1950s Stilnovo brass and glass pendant. A quintessentially 1950s Italian design executed in matte finish opaline glass and brass with a custom modified architectural ceiling...

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...

Chandelier by Stilnovor Designed and manufactured in Italy, circa 1950's. Enameled metal, brass. Original brass canopy. We recommend four E27 40w maximimum bulbs. Bulbs not included.

“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...

Venini chandelier.

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...

Rare double-shade suspension light by Stilnovo. Designed and manufactured in Italy, circa 1950s. Sleek double shade suspension light featuring soft opaline glass shades with polished brass finials...

Made up of 18 articulating orbs in white and chrome, they hand from 18 black thread cables and original canopy. This is a RARE Stilnovo chandelier! Many of the orbs retain original S...

A beautiful space age chandelier produced by Stilnovo in the 1970s, of fine Italian manufacture. The chandelier is very beautiful and striking. There is an aluminium cylinder that a...

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...

Stilnovo pear-shaped ball pendant satin glass, Italy, circa 1950 Black suspension light by the Italian brand Stilnovo. Beautiful pendant light with a lacquered conical shaped alumin...

Mid-Century Modern wall light lamp sconce potence or wall-mounted adjustable pendant lightning ceiling with counterweight, telescopic (adjustable) arm that swivels 180 degrees in bla...

Splendid Stilnovo three discs ceiling lamp in brass and glass, Italy 1950s Reference : Botteghe Storiche di Milanesi, Milan, 2006, p. 21 for the five...

An original stunning 1950s 6 globe Stilnovo chandelier from Italy, with original brass and painted brass and glass finish. Partially restored and rewire...

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...

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 ...

Achille & Pier Castiglioni 'Sputnik' brass chandelier in multicolor for Stilnovo Founded in 1946 in Milan, Stilnovo was one of the most innovative lighting companies in Italy during...

Rare model 622 Ceiling Light for Stilnovo. Designed and manufactured in Italy in 1995. Minimal tear drop ceiling light with soft milk glass diffuser...

Stilnovo pear-shaped ball pendant with satin glass, Italy, circa 1950 Black mid-century modern suspension light by the Italian brand Stilnovo. Beautiful pendant light with multiple lacquered trumpet-shaped aluminum hardware and opal spheres...

Venini Chandelier.

Venini chandelier.

VENINI Ceilling Light

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...

Iconic pendant by Stilnovo. 6 Lights, brass arms and canopy, original opaline glass balls. Excellent condition, beautiful brass patina.

Stilnovo Chandelier

Great vintage condition with normal trace of age and use for this pendant lamp manufactured by Stilnovo during the 50s. Made from brass, lacquer, opaline glass, glass. No cracks or c...

Italian pendant lamp by Stilnovo, 1960s. Dimensions: H= 94 cm; D= 19 cm.

Rare brass, opaline glass and lacquer chandelier produced by Stilnovo during the 50s. Original vintage condition with evident trace of age and use. Glasses with no cracks or chips. T...

Stilnovo chandelier.

Venini chandelier “Triedi” Murano glass metal crome iron, 1960, Italy.

Achille & Pier Castiglioni 'Sputnik' brass chandelier in black for Stilnovo Founded in 1946 in Milan, Stilnovo was one of the most innovative lighting companies in Italy during the ...

Grande midcentury chandelier designed by Venini with Murano glass, Italy 1950s This grande chandelier consists of countless glass 'tubes' with textured designs of Murano glass and...

Rare model 1140 ceiling lamp / chandelier, manufactured by Stilnovo, Milan, Italy, 1960s. Acid-etched glass, painted aluminium and brass. Good original condition with signs of age an...

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...

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

Italian Mid-Century Modern double Murano / Venetian glass pendant / flush mount by Venini The piece is composed of 2 hand blown Murano glass shades with inserted 1 inside the othe...

Chandelier VENINI.

Fair original vintage condition with trace of age and use for this rare Stilnovo chandelier produced in Italy during the 50s. Made from wood, ...

Stilnovo adjustable pair of adjustable pendants or suspension lights model 1140 each with white enameled aluminum shade suspending textured glass dome shade with brass fittings and s...

Italian pendant lamp by Stilnovo, opaline glass and brass ,1960s. Dimensions: H= 98 cm; D= 8 cm; H glass= 37 cm.

Vintage Italian pendant chandelier with amber Murano glass hand blown with spiral effect and inner frosted glass shade, mounted on brass and wood frame / Designed by Stilnovo, circa ...

Stilnovo rare pendant light or chandelier model 1205 with three shades made of brass with textured acid-etched glass diffusers at alternating height...

Venini chandelier.

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 ...

Stilnovo pear-shaped ball pendant satin glass, Italy, circa 1950 Dark green suspension light by the Italian brand Stilnovo. Beautiful pendant light with a lacquered trumpet-shaped...