Italy - Furniture

Vintage Italian Murano flush mount or wall light with blue details / Made in Italy by Toni Zuccheri for Venini, circa 1960s Measures: width 8 inches, length 8 inches, height 5.5 inch...

Venini chandelier murano glass, 1930, Italy.

Amazing and fabulous very rare Italian handmade and blown bottle in light blue color glass with stopper, from the “Velati” series designed and produced by Venini Murano in 1992. Log...

Spinzi is a Milano based creative atelier specialised in furniture design as well as sourcing and trading relevant mid-century collectible design. Check out our storefront and websit...

With its unique features and meticulous attention to detail, this object is a testament to Tobia Scarpa's innovative vision and artistic sensibility. The small jar is in ivory opal ...

A classical form inspired by faraway places, magically projected in the contemporary world by the new colours. It draws inspiration from faraway places, halfway between fantasy an...

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...

ezed vase Fulvio Bianconi Venini & C. 1951 H 22 cm diam. 15.5 cm 1951, IX Milan Triennale Letteratura: Murano Milan Venice GlasDie Neue Sammlung - The Design Museum 2010, p. 136 ...

Regardless of their size, small or large, the luminous sculptures by Ettore Sottsass bring to mind the idea and image of the Florentine lily. Revealed in sheets of glass and oval sph...

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 ...

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...

Mid-Century modern XL spiral chandelier by Venini – a masterpiece of design and craftsmanship. This stunning light fixture is a true jewel for your home. The chandelier consists of...

Vintage Italian chandelier or lantern with clear tree trunk shaped Murano glass tubes / Designed by Toni Zuccheri for Venini, made in Italy, circa 1960s Measures: diameter 12 inches,...

Refined tree chandeliers Venini Murano glass and brass, 1940.

It was back in 1958 when the chandelier triumphed at the Brussels Expo, at the center of the Italian pavilion. Since then, its infinitely glittering appearance of polyhedrons continu...

Step into the enchanting world of Venetian carnival with this exquisite Elegant Venetian Mask crafted in authentic Murano glass from the 1970s. Every glance at this masterpiece will transport you to the streets of Venice, where timeless traditions and artistic brilliance converge. Behold the allure of the pristine white Murano glass, skillfully shaped to form this mesmerizing mask. Adorned with the prestigious Venini label...

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

Good vintage condition with trace of age and use on the metal, glass with no cracks or chips. Made from Reticello Murano glass and chromed metal. Produced in Italy during the 50s. Fu...

Chandelier Venini model Tony Zuccheri Murano glass, 1950.

Made in Italy by Venini, 1970s - 1980s. These table lamps are made in cream colored encased Murano glass with twisted canes. They might show slight traces of use since they're vinta...

A timeless beauty of Murano glass. This opulent chandelier, a masterpiece, was artfully crafted by Venini in 1960. Its grandeur is composed of 60 meticulously handcrafted Murano glas...

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 ...

Wall mirror Venini 1940s photo frame parts in brass, it can be used as a wall mirror or wall photo frame according to your choice.

Venini Darpanah table lamp by Ettore Sottsass. Numbered Edition for year Year of Manufacture: 1994-2017 Metal White Painted Color: Milk-White/Sapphire/Pink Measurements: Ø 12....

Venini glass vase in iridescent green and aquamarine designed by Fulvio Bianconi in 1989. Perfect for indoor home decor as a flower vase or statement piece for any room. Numbered edi...

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

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

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...

This object is a piece of extreme quality and design made of murano glass by designer TYRA LUNDGREN for VENINI, a collector's item for a connoisseur.

Large orange & clear Murano glass vase/umbrella stand designed by Pierre Cardin for Venini in the 1970s.The vase is made with the mold casting...

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...

Murano Glass 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...

Rare single Midcentury wall light model "802" by Tobia Scarpa for Venini, Italy 1970 Stunning hand blown glass and metal structure. This light can be re-oriented to point up as wel...

Pair of designed by Toni Zuccheri for Venini is this Esprit ceiling mount light. Venini describes the model “Esprit” as an explosion of flowers and stars in hand blown, handcrafted g...

Vintage Big Murano Glass Vase by Venini, Italy 1970s. 49 cm x 20 cm. Excellent condition.

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.

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...

Pulegoso Murano glass chandelier produced in Italy during the 40s by Venini. Great original vintage condition with normal trace of age and use. No cracks or chips. Full working with ...

Centerpiece VENINI.

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...

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

Exceptional 1940 chandelier. Murano Venini. Amber red borders.

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...

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

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...

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...

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.

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...

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 ...

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...

“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...

VENINI table lamp