Italian Furniture

Carlo Scarpa for Simon, 'Gritti' table, stained mahogany, leatherette, Italy, 1973. Made in 1973, this grand table is the result of Carlo Scarpa's architectural sensibility construc...

Bellissimo e raro vaso della serie "tessuto lucido" nel colore rosso antico nato dalla collaborazione artistica di Carlo Scarpa e Paolo Venini. Vaso in vetro soffiato lavorato a mano...

Born in Venice in 1906, Carlo Scarpa studied architecture at the city's Academy of Fine Arts, where he graduated in 1926. He taught architectural drawing at the Academy, where he hel...

Venini “Carlo Scarpa” Poliedri Murano glass iron brass, 1960, Italy.

Price is dependent on the chosen material and size. Available sizes: 241x77 240x92 280x92 FASTENERS: Cast satin finish aluminum. FRAME TOP: MDF boards covered with a coat of mirr...

Price is dependent on the chosen size. Available sizes: 213 x 133 (octogonal shape) 213 x 163 (oval shape) 220 x 110 (rectangular) 150 x 150 (square) 200 x 200 (square) 200 x 200 ...

VENINI Carlo Scarpa.

Price is dependent on the chosen material and size. Available materials: Marquina or Carrara marble. Also available in 220 x 110cm or 260 x 102cm or 306 x 102cm. The table can also b...

Price is dependent on the chosen size of the bookcase. One single element measures 55cm width and 249cm height. Available materials: natural ash, black stained ash, matt lacquered as...

Carlo Scarpa was an Italian architect and designer, among the most important of the 20th century. Linked to art, in particular with the art of glassmaking, of which Venice is the It...

Price is dependent on the chosen material and size. Available sizes: 260X102cm 220X110cm 346X102cm 306X102cm Available materials: MARBLE: MARQUINA MARBLE CARRARA MARBLE GLASS: ...

L (cm) 5 Epoca Anni '40 Provenienza Venezia Artista Carlo Scarpa Manifattura adriatica Venezia Materiale Vetro di Murano Categoria Murano.

Credenza disegnata da Carlo Scarpa e prodotta da Bernini a partire dal 1977 presenta quattro ante con elementi laterali a doppio cilindro. Arredo di grande qualità, è realizzato in l...

Large Quatour table with wooden structure and veneered wooden top. Original drawing by Carlo Scarpa. Prod. Gavina, Italy, 1974 cm 165x165x72 Further information Bibliography (edite...

Murano Sommerso A Bollicine Vase, designed by Carlo Scarpa for Venini &C circa 1936 Carlo Scarpa, Sommerso vase featuring ribbed internal glass l...

Pendant lamp designed by Carlo Scarpa and produced by Venini from the Poliedri series. Metal frame and Murano glass elements, 1960s. In very good original condition.

Murano Glass Mirror by Carlo Scarpa for Venini, Italy, 1930s

The 1935 Series bookshelf was conceived by the master of Italian architecture, Carlo Scarpa, and was considered incredibly innovative in terms of both form and construction for its ...

Sarpi table designed by Carlo Scarpa for Simon Gavina with frame in brushed stainless steel, held together with visible recessed screws, Bologna, Italy, 19...

Cornaro sofa by Carlo Scarpa for Simon Gavina, Italy 1973. Stunning solid round dark stained Mahogany wooden frame and thick upholstered cushions. The cushions are reupholstered in a...

Kentucky is a chair born from the collaboration between Carlo Scarpa and the Bernini company. It exhibits apparent formal simplicity but actually conceals a highly articulated and de...

It is sometimes said that great architects never graduated. According to the Italian architectural critic Luigi Prestinenza Puglisi; Mies van der Rohe, Wright and Le Corbusier are am...

Original Delfi table in excellent condition. Produced by Gavina, Italy Designed by Carlo Scarpa and Marcel Breuer This particular table is made of a rare Bianco Cristallino marble...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

Set of 2 Cornaro two-seater sofas, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage conditi...

Beautiful large Murano hand blown green with acid etched surface Italian art glass decorative bowl. Documented to designer and architect Carlo Scarpa for Venini, circa 1934-1936. Cre...

Cornaro '140' armchair / loveseat by Carlo Scarpa for Simon Gavina, Italy 1973. Stunning solid round dark stained Mahogany wooden frame and thick upholstered cushions. The cushions a...

White "filigrana" murano glass bowl. Venini, 1950s Perfect condiction.

Two vintage oak wood chairs by Carlo Scarpa for Gavina. Italy 1974. Excellent condition.

Gritti table by Carlo Scarpa produced by Simon in 1976. A large table made with solid wood cylinders. Top covered in original cloth. Bibliography: Acca...

Poliedri Chandelier VENINI Carlo Scarpa

This Is a rare iconic set of 4 chairs design by Carlo Scarpa for Bernini, mod 1934-765. This chairs Born in 1970, and come up in original condition, without any restoration as in pho...

Murano Glass Vase 'La Mina' Vase designed by Carlo Scarpa for Venini in 1936. Corroded iridized surface glass vase with protuberances "bugne". Venini Murano two lines acid signature...

Mid-Century Modern Round Picture Frame by Carlo Scarpa for Venini, 1950s

Early and Large version Carlo Scarpa Quatour table for the Metamobile series by Simon Gavina, Italy 1974.

Carlo scarpa.

The Delfi table by Carlo Scarpa for Cassina of the 60s and 70s is an iconic work of Italian design. This piece has a polished white marble surface that blends perfectly with its geom...

Italian mid century modern light pink and yellow polyhedral elements glass Poliedri chandelier or ceiling lamp by Carlo Scarpa for Venini, 1958. Glass chandelier, suitable as a ceili...

An original Carlo Scarpa Cornaro loveseat / armchair, original fabric, Italy. Produced by Gavina in the 1970s. We can reupholster in COM at additional cost. Fast shipping worldwide. ...

Cornaro 300 sofa designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-uni...

Carlo Scarpa's Samo Table is made of white marble. The legs are seated by a single block with grooves and thick oval top. If you belong to the ‘Ultrarational’ series, this item is on...

Pair of Cornaro 140 armchairs designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cus...

Carlo Scarpa rare "Cornaro 220" Sofa by for Simon International, Italy, 1970s Additional Information: Materials: Stained mahogany, velvet, brass, leather Dimensions: 26" H x 119...

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...

A bottle designed by Carlo Scarpa for Venini in the mid 1930s. The bottle is a very faint blue green color and displays the mezza filigrana method of glass ...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. 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 was 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, all worth mentioning. 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 how twentieth-century museums were 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 most incredible 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 renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near 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, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he carried out simultaneously 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, arising 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 that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central 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 his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects 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 eight 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 a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

This Italian dining table from the 1970s exudes timeless elegance and beauty. It was designed by perhaps one of the prominent Italian modernist designers of the last century. What im...

VENINI Chandelier

Venini Carlo Scarpa chandelier Poliedri Murano light gray celestial and brass, 1950.

Great Murano bowl acid signature, Venini Murano Italia" 3 line. This bowl was made in several finish and type of glass, bullicante, summerso, inciso, corroso, etc. Documented in Carlo Scarpa book...

An iconic set of 12 chairs designed by Carlo Scarpa for the Auditorium in Via della Conciliazione, Rome on a project by Architect Marcello Piacentini 1950 this set from the first a...

“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...

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...

Carlo Scarpa "Argo" oval table for Simon Gavina, Roman travertine, Italy, 1975. The "Argo" travertine console-table is part of the 'Ultrarazionale' ...

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 ...

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the...

This incredible 'Delfi' dining table designed by Carlo Scarpa and Marcel Breuer is composed of two sculptural Carrara marble bases and a matching thick rectangular marble top which h...