Gio Ponti – A decanter ‘Morandiana III’ – Venini, Italy 1950’s

The Morandiana III decanter, designed by Gio Ponti and produced by Venini in the 1950s, is a refined example of modern Italian glass design.

Measuring approximately 35 cm in height and 7.5 cm in diameter, the decanter has a slender, elongated form. A narrow cylindrical neck rises from a softly rounded body, creating a balanced and architectural silhouette. The proportions are elegant and restrained, reflecting Ponti’s interest in clarity and harmony of form.

The glass features a subtle yet striking color composition. The main body is made of transparent olive-green glass, interrupted by a horizontal band of deep blue around the center. This band visually divides the form and adds a sense of structure. The stopper, in opaque blue glass, is elongated and oval-shaped, providing a bold contrast to the more delicate body.

Part of the Morandiana series – likely inspired by the still lifes of Giorgio Morandi – the decanter emphasizes quiet balance, subtle variation, and sculptural presence. It functions both as a utilitarian object and as a piece of art, demonstrating Ponti’s ability to treat glass as a medium for architectural expression. The decanter is fully signed, made between 1946-1966. It bears a etchmark underneath the in three lines: Venini Murano Italia.

About Gio Ponti

Gio Ponti (Milano 1891 – Milano 1979) was one of the most influential figures in twentieth-century Italian design and architecture. Born in Milan, he studied architecture at the Politecnico di Milano and graduated in 1921. His career spanned more than five decades and encompassed architecture, industrial design, publishing, and decorative arts. Ponti played a central role in shaping modern Italian design, combining classical elegance with a light, inventive modernism.

In the 1920s, Ponti first gained recognition as artistic director of Richard-Ginori, where he reinterpreted traditional ceramics with refined, neoclassical motifs. However, his work extended far beyond ceramics. As founder of the magazine Domus in 1928, he promoted a vision of modern living that integrated architecture, art, and design. Throughout his career, Ponti sought to create objects and spaces that were both functional and expressive, often characterized by clarity of form and a sense of lightness.

A particularly significant chapter in his career was his collaboration with Venini, the renowned glassworks on the island of Murano. Ponti began working with Venini in the mid-1920s and continued into the 1930s, contributing to a period of experimentation and renewal in Italian glass design. At Venini, he explored the artistic potential of glass in ways that paralleled his broader design philosophy: merging craftsmanship with modern aesthetics.

Ponti’s glass designs for Venini are notable for their refined shapes, delicate proportions, and innovative use of color. He often worked closely with master glassblowers to push the technical limits of the material. His pieces include elegant bottles, vases, and lighting objects, many of which display subtle transparency and layered coloration. Rather than treating glass as purely decorative, Ponti approached it as an architectural material—one capable of shaping light and space.

One of his most important contributions at Venini was his role in encouraging a shift toward modern forms that moved away from historical revival styles. His designs helped establish Murano glass as a site of contemporary artistic innovation rather than mere tradition. This influence extended internationally, contributing to the broader recognition of Italian design in the interwar period.

Beyond glass, Ponti is also known for architectural works such as the Pirelli Tower in Milan and numerous villas, interiors, and furniture designs. Yet his work at Venini remains a key example of his ability to translate architectural ideas into smaller-scale objects, maintaining a consistent vision across disciplines.

Today, Ponti’s work – including his designs for Venini – is held in major museum collections such as the Museum of Modern Art in New York and the Victoria and Albert Museum in London. These collections reflect his lasting impact on both modern design and the art of glass.