Poliedri Murano Glass Chandelier by Carlo Scarpa for Venini, 1950s

Poliedri Murano Glass Chandelier 13 Lights circa 1960, Carlo Scarpa For Venini, made with two-coloured glass in the shape of polyhedrons, 120 elements supported by a circular structure in white metal and illuminated by thirteen E14 bulbs. This Venetian chandelier can be used as a ceiling light if attached directly to the ceiling, but it can also be used as a chandelier by adding a chain and a rosette. The structure is made of white painted iron, has 13 E14 lights with the original and functioning electrical system set up for the double switching on of 10 external and three internal lights.

The polyhedrons are made of transparent and pink smoked blown glass arranged in an alternating manner, each measuring one cm. 13 in height and cm. 6.5 in diameter and there are a total of 120 pieces, of which only the external row is on two levels. This large antique ceiling light has a wonderful scenographic effect, the light spreads softly thanks to the combination of light pink and transparent Murano glass.

It is in good condition, functional, comes from a private residence in Milan and is in a perfect state of conservation compatible with the dating; the metal anchors of the glass are slightly oxidized. The measurements refer to the chandelier only.

The Polyhedra were proposed for the first time as compositional elements of the large Venini chandelier, designed by Ignazio Gardella, Paolo Venini and Enrico Peresutti, presented at the Brussels Expo in 1958, located in the central hall of the Italian Pavilion.
with this module the famous cascade chandelier proposed at the Turin Italy Expo ’61 by Venini with Carlo Scarpa was created.
Having graduated from the Academy of Fine Arts in Venice, here he dedicated himself to university teaching which he continued in various roles until 1977.
Carlo Scarpa established himself after the Second World War thanks to important installations, particularly in Venice: the Paul Klee exhibition for the XXIV Biennale, the Art Book Pavilion of 1950 and the Italian Pavilion at the XXVI Biennale.
In 1932 he began working with VENINI, becoming its artistic director until 1946. A long period during which he left an indelible mark on the world of the furnace, for the design of models that have gone down in history and for the research of the most refined techniques.