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Glass Nebulosa Object by Ettore Sottsass for Venini, 2004

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  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 1
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 2
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 3
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 4
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 5
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 6
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 7
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 8
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 9
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 10
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 11
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 12
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 13
  • Glass Nebulosa Object by Ettore Sottsass for Venini, 2004 14

About This Piece

Vintage Design

Perfect condition, signed and numbered, with certificate.

Click here for full description Close description

* Please note that items made of Rosewood are subject to a special export process that may extend the delivery time an additional 2 to 4 weeks
Creator Ettore Sottsass
Manufacturer Venini
Design Period From 2000
Year 2004
Production Period 1990 to 1999, 2000 to 2009
Country of Manufacture Italy
Identifying Marks This piece has an attribution mark
Style Italian Modern
Detailed Condition Excellent — This vintage/antique piece is in near original condition. It may show minimal traces of use and/or have slight restorations.
Product Code OO-618016
Materials Colored Glass
Color Coral, teal, white
Height 54 cm 21.3 inch
Diameter 13.4 inch
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.

Shipping & Delivery

Ships from Belgium
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.
Returns Returns accepted within two days of delivery, except for Made-to-order items

Sustainability

Carbon Neutral For every purchase made, Pamono offsets 100% of estimated carbon emissions from global shipping.
Vintage Choosing vintage and antique furniture reduces your carbon footprint by cutting down on waste and reduces demand for new materials and extends the life of the products we use.

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  • A skilled driver will unload the item(s) from the delivery truck and bring it to your building’s doorstep. You will be responsible for further transport beyond that point. We recommend asking a family member or friend for an extra hand; alternatively, you may upgrade to In-Home Delivery (see below).
  • The delivery partner will email and/or call you at least one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.
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  • A skilled driver or a team of two will bring your item(s) inside your home and place it in the immediate entryway. For unusually large or heavy items, we recommend asking a family member or friend for an extra hand, as we cannot send more than 2 drivers.
  • The delivery partner will email and/or call you one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.

*Important Note

Please examine every order upon delivery. In the event that there are visible signs of damage or missing or incorrect pieces, please indicate the problem on the Delivery Note and contact us within 48 hours of delivery. A signed delivery receipt without notations of missing, damaged, or incorrect item(s) represents your acceptance of the complete order in perfect condition.

About the Creator

Ettore Sottsass

Born in Innsbruck, Austria in 1917, architect-designer Ettore Sottsass grew up in Milan. He studied architecture at the Polytechnic of Turin, graduating in 1939. As a member of the Italian army, Sottsass spent most of World War II in a Yugoslavian concentration camp. After the war, he returned to Milan and opened his first studio in 1947. Like most Italian designers in these years, he focused on activities to help the postwar reconstruction efforts, including exhibition design.

In 1958, he began working with Olivetti, for whom he designed multiple landmark objects—including Valentine, the brand’s iconic 1969 red plastic typewriter—and transformed the large, cold electronics and office machinery of the day into playful, accessible objects of desire.

During the 1960s, Sottsass spent time in both India, where he was deeply affected by the country’s vibrant colors and mythologies, and the U.S., where he embraced pop art culture. These influences can be seen in Sottsass's ceramic designs through the rest of his life.

In 1973, he cofounded Global Tools, an experimental design collective, alongside Gaetano Pesce, Alessandro Mendini, and others. During the ’70s, he collaborated with Alessi, Baccarat, and Knoll, designing everyday items like condiment sets and decanters. Other manufacturers that Sottsass designed for include Artemide, Bitossi, O-Luce, Poltronova, Skipper, Stilnovo, and Zanotta.

In 1980, he formed the architecture/design firm Sottsass Associati. In 1981, he founded the Memphis Group, an influential, flamboyant design firm known for its brightly colored post-modern furniture, ceramics, and lighting. He remained with the Group until 1985, at which point he turned his attentions again to architecture. He died at the age of 90.

About the Maker

Venini

Venini—the world famous Italian glass company—traces it roots to 1921, when Paolo Venini (1895-1959), a Milan lawyer with glassmaking ancestors, and Giacomo Cappellin (1887-1968), a Venetian antiques dealer, launched the Cappellin Venini & C. glass factory on the island of Murano. Under the art direction of Vittorio Zecchin, Cappellin and Venini’s business produced high quality, Renaissance-style goblets, pitchers, and vases.

In 1925, following a dispute with Zecchin, Cappellin and Venini split their business in two. Venini’s business took the name Vetri Soffiati Muranesi Venini & C., along with a new, visionary art director, Napoleone Martinuzzi. Venini soon became synonymous with flamboyantly hued art glass and glass lighting at the cutting edge of contemporary aesthetics.

From 1927 to 1932, Venini explored a series of new, techniques—like pasta vitrea (opaque glass), vetro incamiciato (layered glass), and vetro pulegoso (bubble glass)—which engendered particularly experimental forms for the time. Venini’s reputation for innovation grew through exhibitions at national fairs, like the Venice Biennale, Monza, and eventually the Triennale di Milano. Around this time, Venini went into to partnership with Gio Ponti, Pietro Chiesa, Emilio Lancia, Michele Marelli, Tomaso Buzzi, and Carlo Visconti di Modrone to form Il Labirinto, an association for the promotion of modern design.

In 1932, Martinuzzi decided to dedicate himself to sculpture, and Venini’s artistic directorship went to architects Tomaso Buzzi and Carlo Scarpa. The modernist vision they brought to Venini represented an exciting, modernist turn for the company. Scarpa was particularly interested in capturing and amplifying light’s interaction with glass and was instrumental in developing new techniques like battuto (beaten glass), tessuto (glass with lines), granulare (glass with small globules), and murina (patterned glass made from rods).

Following World War II, Venini continued to produce glass in a modern idiom, frequently in collaboration with important midcentury designers and architects—not only Carlo Scarpa and Gio Ponti, but also BBPR,Fulvio Bianconi, Roberto Menghi, Tobia Scarpa, Massimo Vignelli, and Tapio Wirkkala.

When Paolo Venini passed away in 1959, his company passed to his son-in-law, Ludovico Diaz De Santillan. In the 1970s, Ludovico’s daughter, Laura, managed the company, until the Gardini and Ferruzzi families acquired it in the mid-1980s. Through the end of the 20th century, Venini continued to work with outstanding design talents, including Gae Aulenti,Mario Bellini, Alessandro Mendini, Timo Sarpaneva, and Ettore Sottsass.

In 2001, Venini was acquired by Italian Luxury Industries. In the 21st century, the company has commissioned designs from the likes of Tadao Ando, Atelier Biagetti, Atelier Oï, Barber Osgerby, the Bouroullec brothers, the Campana brothers, Gaetano Pesce, Matteo Thun, and Studio Job. In 2011, Venini celebrated its 90th anniversary with a travelling exhibition that visited the Glass Museum of Murano, Palazzo Grassi and Punta della Dogana in Venice, the Shanghai Museum of Glass, and the Bagatti Valsecchi Museum in Milan. The first exhibition dedicated to the glass produced by Carlo Scarpa for Venini was a critical and popular success in 2013-14 when it showed at Le Stanze del Vetro in Venice and The Metropolitan Museum of Art in New York. Venini glass can be found in the permanent collections of the Louvre, V&A, MoMA, and more.

* Images courtesy of Venini

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