Venini Furniture

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...

Large Venini Murano Glass Chandelier $12,500.00 Large Murano glass chandelier by Venini from the 1960s. Its composed of several colorless hand blown ribbed glass sections that come t...

Pair of Murano Glass Sconces by Toni Zuccheri For Venini. This beautiful pair of Italian mid-century sconces have been newly wired with new sockets for the U.S. market.

Large Scale Laguna Vase by Tomaso Buzzi for Venini. Incamciato glass, gold leaf. Opaque pale green glass with internal gold exterior, and turquoise glass interior. Applied black glass foot. Vietri Murano...

Murano Glass Vase

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...

An Italian 1970s Venini Murano glass swirl ball lamp on brass base, re wired with new fittings, antique gold cord flex and switch.

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

Pair XXL Venini Wall Chandeliers with Murano Amber and Ice Glass, Italy 1960 We're selling a pair of gorgeous Venini Wall chandeliers from the 1960s, each featuring hand-blown Murano glass in amber and ice tones. These Italian-made lamps are ideal for any space, from midcentury to Hollywood Regency. Choosing Mid-Century Lighting is a sustainable and eco-friendly option that breathes new life into a quality product with a rich history. The signs of wear add character and tell a story of the previous owner's life. These elegant lights are compatible with US/UK/ASIA standards and LED lighting, featuring three E27 sockets. We've cleaned and wired them for immediate use, and the frames are in excellent condition, with a minor patina on the metal parts. You can easily disassemble the sconces for transport, and each glass piece can be wrapped individually. They measure 38 cm in width, 20 cm in depth, and 80 cm in height. Make a statement in your space with these delicate yet beautiful lights. - Priced for a pair of two wall lights...

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...

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...

Vintage 1970s Murano Venini glass chandelier. 10 lightbulbs. 5 tiers of glass. 62 pieces of glass. No broken or chipped glass. Chrome cage with ceiling cap. Tested, working order. Ac...

Venini Narciso Opaline Glass Vase. A red exterior with grey interior Original Venini sticker label and papers. In original foam fitted box. Please note the image used in the main ph...

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...

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

"Kelo" Italian art glass vase by Timo Sarpaneva for Venini & Co. Glass, clear, black, white and red. Marked: Venini 90 Sarpaneva (engraved).

Murano glass chandelier by Toni Zuccheri For Venini. Our unusual vintage Italian chandelier, pendant or lantern is comprised of...

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...

A rare capital “Coreano” Artglass-object, model 504.4 in freeblown applegreen and turquoise glass. Designed in 1966 and handmade by the craftsman of the Venini glassworks on the Isl...

Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano 1950s A rare Fazzoletto (handkerchief) vase in transparent glass with whit...

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 ...

Amazing flush mount chandelier crafted in curved molded Murano Glass on a gilded brass frame. Chandelier illuminates beautifully and offers a lot of light. Gem from the time. With t...

A large 1960s Italian Venini Murano glass shaded brass arc lamp, with barley twist brass stem mounted on a black lacquer base. Re wired with antique gold cord flex, switch and PAT te...

The elegant Murano glass chandelier made in Italy in the 60s. Designer Toni Zuccheri for Venini & Co. Venini & Co. played a leading role in the revival of Italy’s high-end glass indu...

Vintage Italian chandelier with clear and gold Trilobo glasses suspended from white metal ceiling plate. Made by Venini, Italy, c. 1960's. Dimensions: 61"H x 10"D

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...

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...

Centerpiece VENINI.

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...

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...

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 ...

A cylinder shaped amber coloured pendant designed and produced by glass specialist Venini. This model is designed in the 1950s, but this is a more recent production. The lamp i...

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 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...

Satin large vase in glazed horizon/crystal Murano glass by Venini. Sheer glass is hand blown and crafted by the master glassblowers using the sophisticated Satinatura technique, whic...

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 ...

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...

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...

Fulvio Bianconi model 1329 “Pezzato” vase for Venini, Italy, 1950s Additional Information: Materials: Polychrome patchwork glass Dimensions: 9 1/4" H x 6 1/2" Dia. Condition: Excell...

Venini Art Glass Bowl 'Diamante' by Paolo Venini, Murano 1930s A rare Venini art glass bowl of the 'Diamante' series. Heavy transparent glass with a ...

Blown glass, brass. Internally decorated blown glass shade. Brass mounts and 1 x E26 socket.

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...

Venini Vase 'Fazzoletto Opalino', by Fulvio Bianconi 1950s A Fazzoletto vase in opaline and rose glass with clear glass overlay. It was manufactured in the 1950s by Venini, Venice 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...

The unique Murano chandelier Calla or Lily by Venini was made in Italy in the 1960s. Beautiful chandelier with glass flowers that seem to fall from a chrome stand. This lamp with its...

This pendant lamp was designed by Paolo Venini for Venini during the 1970s, in Italy. It features a brass plate were dozens of frosted glass drops fall creating a layering effect wit...

Spectacular, dazzling, elegant, beautiful. All is little for this flush mount chandelier. Piece by Venini made up of a brass-plated base with chains from which hang 48 Venetian Tri...

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 ...

Vintage Venini Murano martini ice cube container in light blue, white & transparent wine cooler, ice bucket made in Italy 1970. No Makers Logo, Venini ...

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.

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

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 chandelier.