Selected by Giulio Secco
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 the surface. The piece is handcrafted using traditional metal molds and adorned with a hot-applied line in contrasting colours on the top of the narrow neck, for a finishing...
Like the Icons that inspire them, they are created with the Balloton technique. Each small Monofiore Carnevale vase is handmade, blown in the characteristic metal mold, which recreates the optical effect of cross-relief on the surface. Colorful and lively, it's ready to party.
Like the Icons that inspire them, they are created with the Balloton technique. Each small Monofiore Carnevale vase is handmade, blown in the characteristic metal mold, which recreates the optical effect of cross-relief on the surface. Colorful and lively, it's ready to party.
Different in appearance, different in colour. Vibrant from head to toe. With caps that recall the forms of the most luxuriant nature. Each Monofiore ampoule by Laura De Santillana is unique, a small precious gift.
In the hands of the masters, blown glass is transformed into precious gems in Green, Grass Green, Purple, Red, Aquamarine, Sapphire, Tea and Taupe. Brilliant and precious. Worked and engraved with multiple techniques.
In the hands of the masters, blown glass is transformed into precious gems in Green, Grass Green, Purple, Red, Aquamarine, Sapphire, Tea and Taupe. Brilliant and precious. Worked and engraved with multiple techniques, from Balloton to Rigadin.
Created in 1930, it is blown glass with essential, sinuous and balanced lines. Reflection of the Golden Age, it is the return to order that appeared in the most disparate artistic fields. With an elegance gracefully emphasized by the processing of milky glass, born in the fifteenth century to imitate delicate porcelain.
From the canvas of "The Annunciation of the Virgin" by Paolo Veronese to the reality of the Furnace: this is the magnificent journey of Vittorio Zecchin's vase. Complex shape, rounded beyond imagination: the Veronese decisively defies gravity, as in the painting that originally houses it. And his beauty conquers everything after centuries.
The preciousness of skilful glass processing combined with the infinite potential of light. Here is the jewel work with a thousand facets, brilliant as precious stones. Francesco Lucchese donated it to VENINI in 2018.
The ancient Greek water container is transformed from terracotta into glass by VENINI. In his lines he speaks of rhythms that are no longer there and brings them back to life, revealing how timeless beauty is. The Idria vase is inspired by the past, by traditions, but it is among the most recent creations, dated 2016.
The ancient Greek water container is transformed from terracotta into glass by VENINI. In his lines he speaks of rhythms that are no longer there and brings them back to life, revealing how timeless beauty is. The Idria vase is inspired by the past, by traditions, but it is among the most recent creations, dated 2016.
The ancient Greek water container is transformed from terracotta into glass by VENINI. In his lines he speaks of rhythms that are no longer there and brings them back to life, revealing how timeless beauty is. The Idria vase is inspired by the past, by traditions, but it is among the most recent creations, dated 2016.
With the PIGMENTS collection, Venini wants to convey a sign of rebirth through the development of a classic shape as an expression of a contemporary furnishing accessory. Pigmenti is offered in a rich color palette and is created in two sizes.
From the masks of Venice to those in glass, the irony of Fabio Novembre enters the furnace to create a work that has a face and a soul. As classic as it is eccentric.
From the masks of Venice to those in glass, the irony of Fabio Novembre enters the furnace to create a work that has a face and a soul. As classic as it is eccentric.
It's difficult to wear the crown, he does it perfectly. Tall and proud, he commands his empire of glass with the kindness and elegance of sinuous shapes. He wears a satin coat and an important metallic-effect crown.
The refined wife of the sovereign, she is taller and always elegant. Her feminine forms are covered by a satin coat that recalls gold. To complete it, she crowns it on her head.
The work designed by Ettore Sottsass is dated 1994. Monumental and architectural, but capable of interpreting and spreading all the magic of the land it is inspired by. It is perceived, it is felt. And it generates imagination.
A black sphere is reflected in the Corallo and in the delicacy of the light green, celebrating the country that inspires it. The volumes are reflected in each other. In the mind of Ettore Sottsass the work is the story of a journey, of a people and its symbols.
The colors recall those of crystal therapy: each vase has a magical meaning, a thaumaturgical power that recalls that of nature's geodes. Rounded with a smooth and opaque surface, they are rough-hewn at the base, revealing shiny layering of colours. A technical complexity that enhances the excellence of the glass masters.
The colors recall those of crystal therapy: each vase has a magical meaning, a thaumaturgical power that recalls that of nature's geodes. Rounded with a smooth and opaque surface, they are rough-hewn at the base, revealing shiny layering of colours. A technical complexity that enhances the excellence of the glass masters.
The colors recall those of crystal therapy: each vase has a magical meaning, a thaumaturgical power that recalls that of nature's geodes. Rounded with a smooth and opaque surface, they are rough-hewn at the base, revealing shiny layering of colours. A technical complexity that enhances the excellence of the glass masters.
It is presented in refined colors, made unique by the ancient and complex processing of milky glass, born in the fifteenth century to imitate porcelain and taken from the experiments of the Furnace. The Opalino vase was born in 1932 from the mind of Paolo Venini, as graceful in tone as in shape.
An exclusive new take on the Opalini technique from the 15th century makes its colour unique. The creative genius of Fulvio Bianconi makes its shape inimitable, recalling skirts swaying in the breeze. Every Fazzoletto Opalini is truly unique: there's not another one like it anywhere.
With lightness and harmony, the glass seems to float in space. Comes to life and movement. It is first colored in Red, then in Apple Green and Sapphire Blue, as well as Black. Transparency on transparency. Delicate shapes like those of the petals, elusive like the clothes of a ballerina.
With lightness and harmony, the glass seems to float in space. Comes to life and movement. It is first colored in Red, then in Apple Green and Sapphire Blue, as well as Black. Transparency on transparency. Delicate shapes like those of the petals, elusive like the clothes of a ballerina.
In her Red and Orange Murrina and Crystal glass Laura de Santillana describes the hottest season and the intensity of its sunsets by the sea. The light goes down but the force of nature remains, set in the tree which continues to shine with that intensity. It's the summer of 1976. Colors: Orange, Red, Apple Green.
In her blue glass and white ice of murrina and crystal Laura de Santillana describes the coldest season. The first snow falls, the temperatures drop, the ice begins to take over the whole landscape and surrounds the trees in white. It is the winter of 1976. Colours: Bluino, Crystal, Lattimo.
Laura de Santillana has imprinted all the lightness and scents of the first grass, the new wildflowers and the buds that begin to decorate the trees in her green glass of murrina and crystal. One of which is kept inside. It is the spring of 1976. Colors: Crystal, Green.
Laura de Santillana has enclosed the season that precedes winter in her glass Murrina and straw tea. The leaves turn yellow, the woods take on new colours, the roads follow them. It is the fall of 1976. Colors: Straw, Tea.
The tradition of Murano blown glass meets contemporary language in Ruri, the Apple Green vase designed by Nicolai Bergmann. The pure geometries of the volumes combine in a meeting of essential shapes: a sphere, supported by three spherical elements, welcomes three cylindrical tubes that become independent vases.
With his work, Frèdèric Duprè transforms glass into natural elements. Chrysalis, in fact, is a pair of vases with an organic and lanceolate shape inspired by botany. The Apple Green glass stems, erected on a sculptural base, come together in a vertical thrust like sophisticated creations of nature.
Obtained by overlapping the lattimo glass with other glass, the opal glass is blown and worked by hand.
Rhythm: this is the word that defines the shape of the vases in the Dèco series by VENINI. The rings repeat, one after the other. They increase, decrease, then increase again. They seem to move like circles in the water with waves and reflections. A movement that is a dance.
The Mantas vase by the artist Petruškevičius seems to recall parallel worlds inhabited by molecular elements, whose name is given by the Chinese ideogram that indicates the concept of molecule. Its fluid, organic and naturally asymmetrical shape comes alive in its stillness and reveals the ability of matter to give life to moments of beauty. Made of...
It is ancient art that inspired Nikki Tibbles in the conception of the work Inked. In fact, the vase recalls in its shapes an ancient cup, from the classical age. In blown glass, the intense blue sapphire color recalls that of the ink, from which the name of the object comes; as well as the decorations and the carved elements worked on the grindstone that...
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
Many shapes, many colors. Each bottle has its own, carefully chosen by Paolo Venini in 1956. They are all engraved, to slightly hide the content that is not there, so that the curious always remove the cap to discover the reality.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
The vase is a bottle. Straw red and transparent. The two distinct chromatic places conceived by Tapio Wirkkala are physically united with the incalmo technique, the hot bonding of two blown shapes.
Grains of sand impalpable and imperceptible as a whole, yet so present, like the passing of time. Fulvio Bianconi and Paolo Venini imprinted it on the Clessidra in 1957. In perfect balance between two different colours, the sand passes through the slender glass puffs, generated with the Incalmo technique, assuming its color and becoming part of it.
Grains of sand impalpable and imperceptible as a whole, yet so present, like the passing of time. Fulvio Bianconi and Paolo Venini imprinted it on the Clessidra in 1957. In perfect balance between two different colours, the sand passes through the slender glass puffs, generated with the Incalmo technique, assuming its color and becoming part of it.