Italy

Indulge in the timeless elegance of this remarkable pair of Venini Tronchi wall lights, expertly crafted by the talented Toni Zuccheri during the 1970s. These captivating sconces fea...

Set of Three pendants mod. 4041 in light blue etched Murano Glass designed by Massimo Vignelli and produced by Venini since 1954. Perfect condition, original electrical system and or...

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

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 ...

Venini Desk or Table Clock

Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s Measures: diameter 12 inches, height 5...

Centerpiece VENINI.

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...

Ceiling or wall lighting system made up of 8 Murano glass elements, "Patchwork" model, designed by Toni Zuccari for Venini. The structure is in white painted metal on which the tran...

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...

“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...

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...

Pair of Venini vases "Coreani" design Tapio Wirkkala, circa 1970s. In two-tone blown glass with overlapping spirals. Signature engraved on bottom and Venini label...

Lampada da tavolo Venini Misure solo della struttura vetro senza paralume. Height 38cm. Large 18 cm.

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

Wall lamp in Murano glass by Venini, 1940.The applique is made up of several glass modules to be inserted inside a brass structure.There is no electrical system which can be made on ...

VENINI table lamp

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

How can such a complex and sophisticated technique like "Canne" (canes) give life to such a natural and spontaneous shape? Only Massimo Vignelli knows. Designed in 1956, this unique ...

With the Pigmenti collection, Venini aims to send out a sign of renewal through the development of a classic form as the expression of a contemporary interior design accessory. Pigme...

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 ...

The Ancient Greek water vessel sheds its skin, as terracotta gives way to glass, thanks to VENINI. Its design speaks of bygone days and rhythms, bringing them back to life: timeless ...

VENINI Chandelier

Vase model Simira filigree glass and solid glass base molded to the wheel, circa 1987- 1988. Signed. Biography Alessandro Mendini was born in Milan in 1931. After a long experience...

Monofiore Balloton extra large vase in Amber Murano glass by Venini. It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by Venini from 1970 lies in its name: ...

Clessidra hourglass in grape and pink Murano glass by Paolo Venini and Riedizione. Limited edition in 99 art pieces each. Little grains of sand, impalpable and unnoticeable as a whol...

Clessidra hourglass in amber Murano glass by Paolo Venini and Fulvio Bianconi. Little grains of sand, impalpable and unnoticeable as a whole yet so...

Idria large vase in Amber Murano glass by Venini. The Ancient Greek water vessel sheds its skin, as terracotta gives way to glass, thanks to Venini. Its design speaks of bygone days ...

Floor lamp in blown and handmade glass, produced and signed by Venini. Lattimo diffuser, stem and decoration in crystal with green core. Base and supports in brass.

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Italian modern steel, marble and Murano glass Ratrih floor lamp by Ettore Sottsass for Venini in 1994. Ratrih model floor lamp, with round marble base...

Vintage Italian flush mount or wall light with a single milky white Murano glass shade with brown border / Made in Italy by Venini, circa 1960s Original mark on the frame Measures:...

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...

VENINI Vase.

Limited edition - 1 of XX A silver leaf inserted into glass lends an unexpected precious flair to the appliqués, contrasting with the subtle hues of the base and the darker shades o...

Murano glass vase designed by Timo Sarpeneva for Venini in 1988. Exhibited at Tingo design gallery in 2008 for the exhibition Murano a go-go. Out production. Original label and signed.

Italian Mid-Century Modern design set of three scones wall lamps designed by Massimo Vignelli and produced by Venini with Murano adjustable glass diffusers and brass frame, Italy, 19...

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...

Pair of vintage Venini wall sconces Murano glass 1970s orange and white. Made by 14 prism triedri. The total dimension is H 37 x 24 cm Perfect condition and fully workig; normal and...

It draws inspiration from faraway places, halfway between fantasy and reality. Paolo Venini opted for a unique palette of Aquamarine, Horizon and other fine hues to present it to the...

Venini Happy Pills in feniletilamina by Fabio Novembre. Numbered Edition Handmade blown glass with the “Incalmo” technique. Color: Feniletilamina...

Venini Principe glass vase in Gray by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower par...

Venini Battuto bicolor vase in light green/red by Carlo Scarpa. Numbered Edition. Blown handmade glass, realized with the “Incalmo” technique, then cut....

Venini Sconces

Venini Happy Pills in ossitocina by Fabio Novembre. Numbered edition handmade-blown glass with the “Incalmo” technique. Color: Multi-color Dime...

Venini Happy Pills in estrogeno by Fabio Novembre. Numbered Edition Handmade-blown glass with the “Incalmo” technique. Color: Estrogeno Dimensi...

Venini Adrenalina happy pills by Fabio Novembre. Numbered Edition Handmade-blown glass with the “Incalmo” technique. Dimensions: Ø 11.5 cm, H 33 cm Year of manufacture: 2012 ...

Venini Puzzle glass in coral/Gray by Ettore Sottsass. Numbered edition for year. Hand-blown glass. Color: Coral/Gray Technique: Opal Dimensions: Ø 27 cm, H 40 cm Year of Manuf...

Venini Principe glass vase in milk-white by Rodolfo Dordoni. Blown handmade glass vases. Upper part, the crown, is covered by metal leaves. The lower part is glazed. Color: Milk-W...

Sheer glass is hand-blown and crafted by the master glassblowers using the sophisticated Satinatura technique, which lends it the exquisite opaque appearance to which it owes its nam...

“A lantern, a shelter of desires. The magic of glass that at the same time reflects, embodies and reveals, partially. A signal and a sign of events. A paradigm of meetings that emit aromas and remote flavors. Remembrance of a Venice suspended between East and West, a door to knowledge and oblivion… A memory of desert crossing...

Large Opalino vase by Venini, 1970s. In opaline incmicito blown glass, engraved signature and label. In excellent condition.

Abat Jour table lamp with white fabric shade, chromium-plated stand and hand-made blown glass elliptical elements. Its combination of white and color make it a subtle yet playful add...

Venini glass vase with round body and glass glasses sculpture. Featured in red colored glass. Perfect for indoor home decor as container or strong statement piece for any room. Di...

Venini glass vase with geometric, circular shaped body and triangular neck and base. Designed by Ettore Sottsass in 1994. Featured in coral red, milk-white, black and light green col...

Venini glass vase with cylindrical body and crystal decorative base. Featured in apple green colored class with crystal designed in 1921. Perfect for indoor home decor as container o...

Venini glass vase with slim shaped neck and black glass glasses sculpture. Featured in grass green colored glass. Perfect for indoor home decor as ...

Venini glass vase with oval body and neck and engraved facial expression designed by Fabio in 2016. Featured in straw colored glass. Perfect for indoor home decor as container or str...

Venini glass hourglass in grey and red. Perfect for indoor home decor or as a statement piece for any room. Limited edition of 199 pieces. Also availab...

Venini glass vase in grey and blue-green designed by Tapio Wirkkala in 1966. Perfect for indoor home decor as container or statement piece for any room. Dimensions: 10 cm diameter...