SKU: 88107938814
infant car seat double stroller

infant car seat double stroller Venice Child Ventura Single to Double Sit-And-Stand Tandem Stroller with 2nd Toddler Seat

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Description

infant car seat double stroller Venice Child Ventura Single to Double Sit-And-Stand Tandem Stroller with 2nd Toddler SeatMeet the Ventura Stroller; an ergonomic sit and stand, single to double tandem stroller engineered to make your life with kids easier and more efficient. A Venice Child exclusive, our unique sit n stand stroller is the quintessential sitting to standing stroller for 2 kids or 1. Parents of multiples need not look further. This is the crown jewel of multi way baby strollers for growing families. A smooth glide is of course essential for a comfortable

Meet the Ventura Stroller; an ergonomic sit and stand, single to double tandem stroller engineered to make your life with kids easier and more efficient. A Venice Child exclusive, our unique sit n stand stroller is the quintessential sitting to standing stroller for 2 kids or 1. Parents of multiples need not look further. This is the crown jewel of multi-way baby strollers for growing families.

A smooth glide is of course essential for a comfortable ride, which is why we’ve outfitted our tandem stroller with solid wheels, textured handlebars and a reliable shock-absorbent framework. Made from hardened rubberized material, the wheels never deflate or succumb to rugged terrain. Measuring in at 34” x 24” x 14” when folded, the stroller stores easily under the bed, in a closet or in the trunk of your car, minivan or SUV.

Venture out with just one kid or two. The choice is up to you! Our sit n stand stroller can be configured multiple different ways to accommodate 1 child OR 2. Face both reclining stroller seats forward, both backwards or mix it up with a split configuration. Add your favorite Car Seat for even more configurations 

With our slim multi-directional wheels for easy stroller maneuvering, you can stroll the mall with your little ones in tow or travel smart with your brood! Ideal for shopping, traveling, sightseeing, touring and more, our single to double stroller with standing board is the total package.

The Ventura Stroller has powerful Wheel and Bar Locking System for strolling safety. Wheels lock in place to prevent rolling when unattended or at a standstill. Side locks safely secure baby seats and bumper bars into the desired position. Just twist and turn to lock, adjust or remove seats.

The all-in-one Ventura Stroller includes a built in Ride-on Board for toddler to stand, while bottom basket & cup holder provide parent conveniences. Use the underneath storage basket to store various kinds of baby essentials, including blankets, toys, diaper bags & more. The convenient cup holder attachment is perfect for bottles, tumblers and more.

Stroller includes second Toddler Seat so that Baby and 2nd child can both ride together. Bassinet is available for purchase.

Wait, there is more. Rain shield is also included for inclement weather & Car Seat Adapters & Seat extension adapters that are normally sold separately, are also included. Easy-entry, extra-large storage basket with built in pockets, easy-remove front belly bar & parent cup holder for parent luxuries. New Telescoping, One- Hand fold comfort grip handle, high quality, large, shock absorbing wheels, 3-Position recline & padded shoulder straps allow for comfortable, smooth ride, while reversible seats, stage extendable UPF 50 canopies & one-foot linked brake are all built in for safety.

Features:

  • Multi-way Baby Stroller: Ventura without limits! The ultimate sit and stand stroller for 2 kids newborn to toddler, this convertible tandem stroller can be configured to meet the travel needs of your family.
  • Front or Rear Facing Seat Options: Enjoy options galore! Equipped with retractable sun shade canopies, safety bars & footrests, the seats can be aligned rear facing, front facing or laid down bassinet style for infants.
  • Compact, Light, Ergonomic: The city chic venturing families love, our sit & stand strollers for 2 children that are lightweight & easy to maneuver. The design is modern, sleek & sophisticated.
  • Durable, Lasting Quality: We’ve built this 2 in 1 baby stroller to last. The materials are sturdy, strong & rigorously tested to ensure durability. Semi-all terrain wheels lock in place & support easy steering.
  • Quick Fold & Easy Storage: Unlike other foldable tandem strollers for twins or 2 kids, this stroller with standing option & one hand fold stands up when folded for easy storage. The BEST space-saver! Can even be folded with both seats attached.
  • Car seats we recommend: Maxi-Cosi Mico, Nuna, Cybex & Clek

Specifications

  • Weight:  34.8 lbs
  • Dimensions:  49.6” x 23.2” x 45.9”
  • Each seat weight limit is 48 lbs.
Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 88107938814

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Amanda Becker
Fort Morgan, US
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
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Amanda Boyd
Charlottesville, US
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Lowell, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Draper, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Verified Purchase
Stephen McLeod
Port Orchard, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 5, 2002

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