Venini Lighting

Venini chandelier with Triedri glass prisms of clear glass in beautiful S-shaped gradient.

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...

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.

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

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 chandelier.

Artù, the stunning Mid-Century Modern crystal floor lamp/side table designed by the legendary Ettore Fantasia for Sothis Italy. This exquisite piece combines both form and function, ...

Venini sconces.

Outstanding three tiered rippled Murano glass chandelier by Venini.

Venini chandelier.

Venini Sconces

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...

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:...

VENINI sconces.

Sculptural Italian chandelier from the famous house Venini dating from the 40/50s. Structures in white lacquered metal (original paint) and rectangular diffusers in transparent Muran...

Marvelous Mid-Century Modern, stunning design, chrome & glass flowers fixture. This aesthetically pleasing and very rare design, Murano glass pendant is in good condition and read...

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...

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...

Sconces Venini.

A pendant light made in 'zanfirico' Murano glass by Venini, circa 1960. Suspended by a brass chain with circular links and domed ceiling rose. In excellent condition. Can be wi...

Vintage Italian pendant with frosted Murano glass globe with hand blown white Murano glass stripes, mounted on chrome hardware / Designed by Venini circa 1960s / Made in Italy 1 ligh...

Venini chandelier.

Venini Chandelier.

Venini chandelier.

We are delighted to offer for sale this stunning rare pair of 'Fungo' Murano glass table lamps inspired by Massimo Vignelli. A true statement pair of lamps, well and beautifully ...

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...

VENINI Ceilling Light

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...

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...

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 ...

Toni Zuccheri for Venini Murano Glass Sconses, Italy 1970s Excellent and square Venini white Murano glass applique by Toni Zuccheri made and designed in Italy 1970s. These wall sc...

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

Chandelier Venini.

Mid-Century Modern Venini chandelier Murano glass from a Palm Beach estate Measurement of the chandelier portion itself is 13 5/8 height x 13 1/2 diameter Including the chain a...

A hand blown orange colored glass Fungo table lamp designed by Massimo Vignelli at the start of his impressive career in design and executed by Murano glass specialist Venini. This is the largest size of the Fungo table lamp. The Fungo lamp...

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

Chandelier VENINI.

Venini sconce.

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 ...

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...

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 ...

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...

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 ...

As the light turns on, a bright trail appears like magic, like the flying carpet from Arabian and Persian mythology. Its splendor casts a spell on the viewers, urging them to jump on it and fly into the unknown. Tappeto Volante...

Parallelo 893.75 H62,5 CR/NE/TE Additional Information: Material: Glass Colour: Black/Crystal/Tea Light Source: 1 x max 8W LED E14 - Dimmable Finishes: Black nickel metal Dimensions...

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 ...

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  

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 ...

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 ...

Parallelo 893.81 H78,5 CR/NE Additional Information: Material: Glass Colour: Black/Crystal Light Source: 1 x max 8W LED E14 - Dimmable Finishes: Black nickel metal Dimensions...

Rotondo 893.60 Ø20 CR/NE/TE Additional Information: Material: Glass Colour: Black/Crystal/Tea Light Source: 1 x max 12W LED E27 - Dimmable Finishes: Black nickel metal Dimensions: Ø...

Round Italian Blu Murano glass Venini 1960 brass gold.

Parallelo 893.80 H 63, 5 CR / NE. Additional Information: Material: glass Colour: black / crystal. Light source: 1 x max 8W LED E14 - dimmable. Finishes: black nickel metal. ...

Bold shades of Black blend together with the hues of Crystal or Tea of the sphere. They enclose it, surrounding it with thin and thick lines, alternating in a seemingly random fashio...

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...

Bold shades of black blend together with the hues of crystal or tea of the sphere. They enclose it, surrounding it with thin and thick lines, alternating in a seemingly random fashio...