Italy - Furniture

VENINI Chandelier

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:...

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...

Venini Port vase in black by Edward Barber and Jay Osgerby. Limited Edition in 30 art pieces Color: Black Technique: Opal Dimensions: Ø 30 cm, H 40 cm Year of Manufacture: 201...

The female hormone par excellence now shaped in glass. A design placebo created by Fabio Novembre in VENINI’s workshop. Indications and dosage: admire it in small doses, daily. Addi...

Venini glass vase with cylindrical body and fine line drawn pattern across glass surface. Featured in tea and ivory colored class designed in 1984. Perfect for indoor home decor as c...

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...

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...

VENINI Vase.

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...

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...

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...

Cascade La Murrina Italian midcentury chandelier multicolor Murano glass.

Venini chandelier.

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...

Made in Italy, 1940s. This tiny bonbonniere is made in sommerso Murano glass, with gold flakes and few bubbles due to the process of glass blowing. It is a vintage piece, but it can ...

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...

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:...

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by VENINI from 1970 lies in its name: Balloton, a special technique that lends a unique matelassé effect to...

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...

Chandelier "Esprit" in Murano hand blown glass and chrome metal. Designed by Toni Zuccheri and produced by Venini in the 1970s. Bibliography: - Domus 436 (marzo 1966), advertising...

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

A work of art. More than that, a myth. Gio Ponti 99.81 owes its undisputed modernity and originality to the boundless creativity of its creator, Gio Ponti. Its uniqueness lies in its...

Venini sconces.

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

Opalino small vase in Amber Murano glass by Venini. The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Op...

VENINI sconces.

964.10 Triedri Crystal/Amber color glass. Chandelier composed of “Triedri“ elements in solid cristallo- and amber-coloured glass that when curved take on a hemispherical shape. The structure and chain are in chrome-plated metal. The Triedri, conceived between 1958 and 1960, are solid cristallo glass elements that, used as vertical modules for lighting fixtures, can be assembled to form various shapes. The trihedron, as a crystalline prism with a triangular section...

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...

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.

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...

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...

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by VENINI from 1970 lies in its name: Balloton, a special technique that lends a unique matelassé effect to...

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...

“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...

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...

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...

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

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by VENINI from 1970 lies in its name: Balloton, a special technique that lends a unique matelassé effect to...

It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by VENINI from 1970 lies in its name: Balloton, a special technique that lends a unique matelassé effect to...

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...

The warm glow of candles meets glass etched using the special Balloton technique. Its light flickers and dances, casting a multitude of reflections on the refined Tea, Red, Grape or ...

This work by Fulvio Bianconi stems from the most innovative glassmaking technique in the 1900s: thin rectangular strips of glass are placed one on top of the other and then hand-appl...

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...

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...

Campana 100.75 Ø14 H11,5 RV/CR Additional information: Material: blown glass Color: red Dimensions: Ø 12 cm Available in other color options: Amber.

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 "...

The Opalino vase is all about sophisticated and unique colors, thanks to the use of the traditional Opalino technique. This method was first introduced in the 15th century to make gl...

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  

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...

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 Sconces

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...

In the expert hands of the blowers, glass turns into precious gemstones of various colours – Green, Grass Green, Purple, Red, Aquamarine, Sapphire, Tea and Grey. Unique and sparkling...