Italy

Amazing and fabulous Italian handmade and blown bottle in green color glass with stopper, from the “Velati” series designed and produced by Venini Murano in 1981. Original Venini Murano label...

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 ...

Clessidra hourglass in amber murano glass by Paolo Venini and Fulvio Bianconi. Little grains of sand, impalpable and unnoticeable as a whole yet so real, like time ticking away. In 1...

Venini sconces.

Venini chandelier.

Italian Venini Carlo Scarpa wall lamp 1936 Art Glass Murano Catalogo Blu.

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.

Chandelier Venini.

VENINI sconces.

"Incamiciato" Italian Art glass vase by Tomaso Buzzi for Venini. Clear, white and green. With original label. Signed: Venini Italia '89.

Venini chandelier.

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:...

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 set of 2 "Chiara" table lamp designed by Cini Boeri. manufactured by Venini Murano, Italy, 1984 . Theese pieces of design are constructed of white glass over a subtle rose layer interior...

Veliero comprises 6 modular elements; the simplicity of the original square remains unchanged, and is actually enhanced by the encounter with the other elements, expressing itself in...

Venini chandes.

Sconces Venini.

“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.

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

Venini Chandelier.

Colletti series vase in greenish blown glass with two-tone incalmo band decoration designer Alessandro Diaz de Santillana. Venini engraved signature. After graduating in architecture...

Chandelier VENINI.

Vaso a Bollicine Carlo Scarpa Venini & C. 1932 Measures: height cm 34, diameter cm 25 XVIII Biennale di Venezia del 1932 Bibliography: Murano Mi...

Venini frame.

Created from the collaboration between Fulvio Bianconi and Paolo Venini, characterized by a soft shape with a graceful wavy lip, always unique, obtained using the free-hand technique...

VENINI Ceilling Light

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Elegant and timeless, Murano glass ceiling lamps are varied and diverse but each carries with it the aura of the wisdom of the lagoon's master glassmakers. This ceiling light from th...

Murano glass wall or ceiling lamp designed by Toni Zuccheri, made of hand-blown Murano glass with amber tones. Produced by Venini in the 1960s  

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

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 ...

Made in Italy, 1930s. These cherries are made by Napoleone Martinuzzi for Venini in Murano glass. This item might show slight traces of use since it's vintage as a chip on the top t...

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Floor lamp model ‘Tolboi’, produced by Venini since 1987.

Nastri 905.03 SOSP CRISTALLO Additional information: Material: glass Colour: crystal Light source: 3 x max 12W LED R7S Finishes: chrome metal Dimensions: W 120 x H 35 cm

Apparently casual silhouettes with irregular protrusions meet sleek surfaces to admire with the eye and caress with the hand. They stem from special techniques – "Mano Volante" and "...

Candle holder in blown glass finished by hand, it adds a decorative touch to the home, creating magical atmospheres.Using the balloton technique, Venini’s master glassblowers impart a unique cross...

Intense hues of Aquamarine, Red and Grass Green. Glass flows through a single lens, unexpectedly creating a vase. Sketches, models, renders and iron frames. The master glassblowers c...

Skillful glasswork gives back this object a slight movement, as if it were suspended in space. Its iconic silhouette comes from an exclusive archival prototype and brings a playful t...

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

Vase in blown opal glass, red on the outside and white on the inside, produced by Venini in Murano, Venice (Italy). Signed under the base 'Venini 2006'.

Monumental Paolo Venini vase model 3556 for Venini in light grey Opalino glass. The second smaller vase measures Diameter 13 x H 38 cm. Both vases carry the Venini label and are Acid etched Venini Murano Italia...

Dans son verre Vert de murrine et Cristal, Laura de Santillana a imprimé toute sa légèreté et les parfums des premières herbes, des nouvelles fleurs des champs...

SANTA 199.05 Ø10 RV BALLOTON Additional Information: Material: Glass Color: Red with gold leaf Dimensions: Ø 10 cm Available in other color options: Red with gold leaf

From «The Annunciation» by Paolo Veronese to the Fornace (Kiln): a wonderful journey for this fine vase by Vittorio Zecchin. A complex shape, curved beyond imagination: Veronese defi...

Calculations, numbers, man’s endless attempt to rationalize an otherwise intuitive world. All this enclosed in a unique work by Monica Guggisberg and Philip Baldwin. Crafted with sph...

Like notes breaking through the silence and creating rhythm, glass flows through metal structures, turning into lanterns. Rhythm, designed by I M Lab, is the quintessence of the art ...

The latest re-edition features bright new elements, complex shapes and different uses. But it stays true to the Balloton technique, which lends a unique ...

Pair of elegant round wall sconces with hand blown swirl Murano glass set on a metal frame. Manufactured in Murano, Italy 1970s. Details Creator: Murano Dimensions: Diameter: 29...

Summer impressed in glass by Laura De Santillana. Murrina glass in hues of Red, Orange and Crystal brings to mind the warmest season of the year, and its breathtaking sunsets over th...

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...

Venini Toni Zuccheri ceilling light sconces Murano glass brass metal 1950 Italy.

Venini sconce.

Limited edition - 1 of XX The master glassmaker removes the object from the fire using a rotating rod, while other workers place thinner pieces of glass in the exact spot indicated ...

SANTA 199.05 Ø10 RV FOGLIA ORO BALLOTON Additional Information: Material: Glass Color: Red Dimensions: Ø 10 cm Available in other color options: Red

Intense hues of aquamarine and horizon, red and purple, mint green and grass green. Coloured glass elements flow through the two lenses, blending unexpectedly together into a vase. S...

Battuti 516.13 35X16 H45 RC ED.NUM. Additional Information: Material: Glass Color: Rosa Cipria Dimensions: H 45 cm Available in other color options: Grape, Amber, Green rio, aquamar...

Like notes breaking through the silence and creating rhythm, glass flows through metal structures, turning into lanterns. Rhythm, designed by I M Lab, is the quintessence of the art ...