Gianni Pinna, ceramic centerpiece / sculpture vide poche, Italy 1970

Modern ‘Biglia’ ashtray designed by Joe Colombo Arnolfo di Cambio Italy, 1968 silverplate, glass, crystal marked on the bottom H 10 cm - 15 cm diam. Bibl.: Cfr. 'I Colombo', ca...

Mid-century Modern style blue artistic ceramic vase Gabriele Bucci Italy ca. 2000s Signed under the base H 32.5 cm - Diam. 18 cm Conditions: excellent, no defects

“Créature Fantastique” Ceramic sculpture. Augusto Chini (Florence, 1904), Manifattura Fornace San Lorenzo, Italy, circa 1930. A juvenile important work by Maestro Chini. Very fine craquelure, delicate purple nuances on dark green and light metallic lustre. Signed A. Chini on the edge and serial inside the base. The Chini family, leading exponents of European Art Nouveau. One of the most important manufacturers of Art Nouveau ceramics...

Travertine vide poche / ashtray Manufactured by CN Cerri Nestore, Italy, 1970s. H 4 cm Diam. 16 cm Conditions: excellent consistent with age and use

Ceramic (Grés) centerpiece designed and produced by Carlo Zauli in 1970. Unique piece. Signed. Biography: Carlo Zauli (Faenza, 1926-2002) is one of the great names in post-war ...

A striking sculptural centerpiece/plate in glazed ceramic by Cosimo Budetta for the iconic Fornace degli Angeli, Italy, 1970s. This exceptional piece captivates with its stunning col...

Introducing a large and impressive ceramic centerpiece designed by Franco Bucci for Laboratorio Pesaro in the 1970s. This exquisite piece measures 45 cm in diameter and 4.5 cm in he...

Ceramic (Grés) centerpiece designed and produced by Carlo Zauli in 1970. Unique piece. Signed. Biography: Carlo Zauli (Faenza, 1926-2002) is one of the great names in post-war Italian sculpture. Like other masters of previous generations, from Martini to Fontana and Leoncillo, his technical training was in the field of ceramic art. Zauli moved away from its formal principles in the sixties, however, when his work moved towards a complex form of sculptural research of great expressive richness. The shift from informal territories towards a reasoning about geometrical forms as rhetorical structures brought him into the heart of the sculptural debate of those years. The solo exhibition at the Montenapoleone Gallery of Milan in 1957 fitted in perfectly with other works that were part of a trend towards an integration of the arts (frieze for the palace in Baghdad, 1958; frieze for the government printing office...