VENINI
A story, an artistic excellence, a typically Italian passion. Founded in 1921 by Paolo Venini, a Milanese lawyer, and Giacomo Cappellin, a Venetian antiques dealer, Venini would become a model of excellence in the world of artistic glass, laying the foundations for a stylistic identity that still distinguishes it today.
Over time, Venini entered into important partnerships with artists such as Napoleone Martinuzzi, Carlo Scarpa, Vittorio Secchin, and, in the post-war period, Gio Ponti, Fulvio Bianconi and Mimmo Rotella.
More recently, designers and architects such as Peter Marino, Tadao Ando, Ettore Sottsass and Michela Cattai have designed pieces for Venini.
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Venini boasts an unmatched colour palette that, together with the glassworking techniques, is part of a cutural heritage handed down from generation to generation. The Venini furnace is, in fact, the only one capable of producing 125 colours of glass, the fruit of a long and passionate search for formulae yielding new combinations. Furthermore, the structure is organised to work with a palette of 12 colours, using 12 ovens simultaneously fired up. Venini has always created objects with a timeless design that are designed to appreciate in value.
The forms and style of the original artistic production are continuously refreshed. With its iconic projects and new creations, Venini presents its works in two collections:
ARTGLASS
brings together a series of extraordinary sculptural vases and objects for interior decoration
ARTLIGHT
features chandeliers and important lighting installations for large public or private spaces.
THE ICONIC COLLECTIONS
THE AUTHOR COLLECTIONS
VENINI
Rhythm glassblowing technique
VENINI SS21 New Colours
VENINI
VENINI - Silenzio dei Colori
VENINI - Where Are My Glasses - Ron Arad
VENINI - Peter Marino
VENINI - Peter Marino - Artlight
VENINI - Unity
Thanks to the excellence of quality, the high artistic content, and the manufacturing value intrinsic to each piece, the hammer prices of VENINI glassware reach record figures at major auctions; in fact, the highest price ever paid for a Murano art object was for a VENINI piece, “La Sentinella di Venezia” of 1962, which fetched 737 thousand dollars.
Creations bearing the Venini signature have become part of the permanent collections of museums of such calibre as the Metropolitan Museum and MoMA in New York, the Fondation Cartier in Paris, and the Victoria and Albert Museum in London. Venini’s own museum contains 45,000 drawings, 10,000 vintage photos and 4,000 works of art, making it the most valuable historical archive of modern and contemporary glass art.
