Carlo Scarpa Furniture

Carlo Scarpa Doge Table For Cassina A sculptural structure that has become an emblem of Italian design, a trademark of the new ultrarational ...

Carlo Scarpa for Venini 1906 - 1978 “Pennellate” vase, 1942 Carlo Scarpa for Venini “Pennellate” vase 1942 While the world was at war in 1942, Scarpa and Venini produced a rare ser...

Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. Carlos Scarpa's Poliedri lamps...

Carlo Scarpa, 'Scuderia' Walnut Dining Table, manufactured by Bernini in 1977 Of solid walnut structure the grain of the wood is spectacular; with sculpted and canted corner legs a...

Valmarana model table, made entirely of wood with a light finish and a rectangular top, composed of two lateral shoulders that act as legs that are positioned at the head of the tabl...

Pair of Cornaro 140 armchairs designed by Carlo Scarpa. Ash wood structure, chenille velvet upholstery. Polyurethane padding. The one-unit side and back cushion is fastened to the f...

Murrine Opache plates, designed by Carlo Scarpa and manufactured by Venini, are available in four different versions. Handmade glass with “murrine” technique. Numbered edition per ye...

This exquisite Murano art glass bowl by Vetreria Artistica Scarpa Schiavon is shaped like an elegant five-leaf clover and crafted in a rich golden yellow tone. Made in the 1950...

Set of four 1934 756 chairs in walnut wood and cushions in leather, designed by Carlo Scarpa and produced by Bernini in the 1970s. Initially designed for Scarpa’s own Venetian house...

A rare and original green and yellow glass poliedri (polyhedron) chandelier designed by the Italian architect and designer, Carlo Scarpa, c.1960. Produced by the prestigious Murano g...

Suspension lamp model “Poliedri” designed by Carlo Scarpa and edited by Venini. Structure made of lacquered metal composed of unique pieces in Murano glass. Italy 1950s. Carlos Scarpa's Poliedri lamps...

Originally designed by Carlo Scarpa in 1935 and produced for the first time by Bernini in 1980, the Bookcase Model 795 perfectly embodies Scarpa’s architectural approach to furniture. The design features two vertical steel uprights with adjustable feet and wall mounts, supporting eight solid walnut shelves that gradually decrease in depth from bottom to top. The height is adjustable from 290 to 300 cm, emphasizing Scarpa’s fascination with precision mechanics and structural balance. Although conceived decades earlier, this bookcase anticipates the modular and architectural systems that would later define postwar Italian design, such as Franco Albini’s LB7...

Carlo Scarpa for Bernini, dining chair, model '765', walnut veneer, leather, designed in 1934, produced in 1977. This well-proportioned chair is designed by Carlo Scarpa in 1934, a...

Dining table mod. 'Samo' by Carlo Scarpa. Series 'Ultrarazionale'. Italy, 1970. Manufactured by Simon. Granite. Literature: Giuliana Gramigna, Repertorio 1950-2000, Allemandi, Torino...

Venini Carlo Scarpa chandelier Poliedri Murano light gray celestial and iron 1950.

Carlo Scarpa. Rare decororated fenicio vase, model 2948 by MVM Cappellin. Italy, 1928-29. Lattimo glass with iridized surface. 6-point-pontil. 26 ×13 cm. Very good condition, signe...

Venini Murrine Opache plate in coral/black by Carlo Scarpa. Numbered Edition. Handmade glass with “murrine” technique. Color: Coral/Black Technique:...

A 'battuto' glass vase by Carlo Scarpa for Venini, circa 1940 Acid-stamped venini murano ITALIA 33 cm in hight Excellent condition see christies 933822 (58750$) Literature: Ba...

Carlo Scarpa “Cornaro” sofa for Gavina, wood and ivory velvet, 1973. The Cornaro sofa represents a sublime exemplification of the harmony be...

Elegant sommerso a bollicine Murano glass bowl, designed by Carlo Scarpa for Venini. Hundreds of air bubbles in the case glass form create a light-catching...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Carlo Scarpa Murano Glass Poliedri ceiling lamp for Venini in yellow and Grey, Italy 1950s.

Murrine Opache plates, designed by Carlo Scarpa and manufactured by Venini, are available in four different versions. Handmade glass with “murrine” technique. Numbered edition per ye...

Carlo Scarpa (1906-1978), rare 'Incamiciato' vase, ca. 1930 amber-colored glass, opaque white underlay; base and mouth are transparent amber; spherical shape on a cylindrical stand. ...

Large Poliedri wall lamps designed by Carlo Scarpa in 1961 for Venini glassworks. Painted metal frame, transparent blown glass, in the rare version consisting of 48 polyhedra, excel...

Cornaro living room set is composed of a two-seater sofa with two armchairs, a frame in lacquered wood seat, and a back in padded fabric, with leather ties. Designed by Carlo Scarpa...

Carlo Scarpa “Cornaro” sofa for Gavina, wood and turquoise velvet, 1973. The Cornaro sofa represents a sublime exemplification of the harmon...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Architectural dining table designed by Carlo Scarpa in 1968. The design was part of the 'Ultrarazionale' collection, initiated by Dino Gavina in collaboration with Carlo Scarpa in 19...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. 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, Carlo Scarpa 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 that stands on the Grand Canal banks, 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, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows 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 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 most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – 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 the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider 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, working on the Carlo Felice Theatre in Genoa and 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 started 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 eight 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...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and light blue jacquard velvet by Zimmer + Rohde. Fully restor...

Carlo Scarpa (1906-1978), 'A Bugne corroso' vase, ca. 1936 model no. 4100 cylindrical with nubs, flashed glass, uncoloured and green, etched in a technique reminiscent of ice-glass (...

Carlo Scarpa (1906-1978), 'Bugne' vase, 1936 hand-blown glass, iridescent surface modell 3739 produced by Venini & C., Murano, Italy signed with four-line acid stamp to underside ...

Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...

Early production Cornaro sofa by Carlo Scarpa for Simon, Italy, 1973. This rare first version was crafted in solid Iroko wood, a dense African hardwood used only in the earliest prod...

Carlo Scarpa for Venini 1906 - 1978 “Pennellate” vase, 1942 Carlo Scarpa for Venini “Pennellate” vase 1942 While the world was at war in 1942, Scarpa and Venini produced a rare ser...

"Kentucky" chair by Carlo Scarpa for Bernini, 1977 The Kentucky chair is the result of an extraordinary collaboration between Carlo Scarpa and the Bernini company, and is a perfect ...

Pair of wall lights with four lightpoints, Poliedri model designed by Carlo Scarpa, edited by Venini. Composed by Murano crystal pieces over a structure made in white lacquer metal. ...

Carlo Scarpa, 'Battuto' vase, 1940 Hand-blown glass, battuto surface produced by Venini & C., Murano, Italy 24 cm (height) signed with two-line a...

Large Poliedri wall lamps designed by Carlo Scarpa in 1958 for Venini glassworks. Painted metal frame, blown glass in transparent and smoky tones, in the rare version consisting of ...

A Cast iron industrial elements, converted in a console, iron shelves with cut glass top. Italy 1950 ca.

Carlo Scarpa “Cornaro” armchairs for Gavina, ivory linen, Italy, 1973, set of two The “Cornaro” armchair, designed by Carlo Scarpa in 1973 for Gavina, distills the essence of archit...

Set of Six Carlo Scarpa 1934/765 Walnut and Brown Leather Chairs for Bernini, Italy, 1977 765 is planned by Carlo Scarpa in 1934, year from which the chair will take subsequently th...

Poliedri 951.27 APPLIQUE CR Additional Information: Color: Crystal Light Source: 2 x max 8W LED E14 Finishes: Chrome metal Dimensions: W 27 x D 27 x H 39 cm.

Carlo scarpa. Suspension lamp from the Poliedri series. "VENINI" production the chandelier will be sold with about 6 spare parts.

Carlo Scarpa (1906-1978) Art Deco Glass Table Mirror handworked in twisted colourless Murano glass, the spiral design known as “a treccia” after its resemblance to a braid. The glass frame lined with a brass band, secured with a pierced trapezoid clip to the wooden back-plate, with brass folding...

A rare circular blue glass poliedri (polyhedron) chandelier designed by the Italian architect and designer, Carlo Scarpa, c.1960. Produced by the prestigious Murano glass company, Ve...

Carlo Scarpa for Bernini, dining chair model '765', walnut, black leather, designed in 1934, production in 1970s This well-proportioned chair was designed by Carlo Scarpa in 1934, t...

Pair of model lamps "Poliedri" designed by Carlo Scarpa and edited by Venini, with structure in lacquered metal and Murano glass, Italy, 1950s. Enhance your space with a touch of mid-century elegance with this pair of Poliedri lamps...

All the rigor and geometry of the great Italian designer Carlo Scarpa are expressed in this splendid and rare set of 6 wooden chairs made for Gavina in the early 1970s. An essential...

Gritti table by Carlo Scarpa produced by Simon in 1976. A large table made with solid wood cylinders, crystal top, plexiglass feet ends. Bibliography: ...

The Poliedri Chandelier by Carlo Scarpa for Venini is a stunning mid-century Italian masterpiece, blending light, geometry, and artisan glasswork. Scarpa's innovative design features...

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...

Model "Samo" table oval slab of clear glass on travertine frame designed by Carlo Scarpa made by Simon in Italy around 1970. Particular version made with natural beige travertine, a...

A masterful example of Carlo Scarpa’s design brilliance, this Sarpi Table was created for Simon Gavina in Bologna, Italy, in 1970. The table features a brushed stainless steel frame ...

Chandelier VENINI ,originale di Carlo Scarpa. Murano glass 1950

Carlo Scarpa Black Leather “Kentucky” Dining room Chairs for Bernini, Italy 1977 "Set of six model 783 "Kentucky" dining room chairs, designed by Carlo Scarpa for the Italian manuf...

Carlo Scapa for Venini, signed Small bowl from the corrosi series made of dipped glass, the surface of which has been completely treated with acid. Venini Murano acid signature Dim...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...