Maiolica Decorative Objects

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

Maiolica flower pots “a mezzaluna” Samson & Fils Factory Montreuil-sous-Bois, France, late 19th century They measure 4.72 in in height x 8.66 x 5.03 (12 cm x 22 x 12,8) Weight: 1.88...

Italian antique vase with lid in blue and white majolica, 1715 Vase with lid with round base in blue and white majolica. On one side of the vas...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

Early 20th century Italian majolica urn. This gorgeous Italian majolica or maiolica urn or jardiniere is hand decorated with serpents, dolphins an...

Design Period 1955 to 1965 Production Period around 1960 Country of Manufacture Italy Gubbio Umbria (Provincia di Perugia) MARKED: by artist C.A.F.F. Gubbio :-:very good condi...

Majolica Bowl hand-painted CIMA Perugia. ORIGIN Italy PERIOD Anni 80 MARK CIMA Perugia MATERIALS Maiolica smaltata and hand-painted DIMENSIONS Height: 9 cm Ø 20 cm CONDITIONS P...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Rare and large Palissy Majolica vase, France, circa 1880. Made on a circular base, the baluster vase with a marbled brown bottom rests. The neck and foot feature motifs inspired by ...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

A superb antique relief moulded Continental Maiolica dish or plaque relief moulded with a side profile portrait of a figure wearing a military helmet and with the words DUX D'URBINUS...

Italian Large Majolica Terracotta Sculpture with Lustre by Adolfo Merlone, 1950s Majolica terracotta sculpture decorated with lustre glazes in shades of red, blue and yellow depicti...

Pair of majolica vases, produced by the Aetruriae Ars kiln in Sesto Fiorentino, Florence, in the 1960s. They present rather distinctive decorations with bi-anodized handles.

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and which Antonio Ferretti introduced in Italy. This production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, could commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables...

Maiolica flower pots “a mezzaluna” Samson & Fils Factory Montreuil-sous-Bois, France, late 19th century They measure 4.72 in in height x 8.66 x 5.03 (12 cm x 22 x 12,8) Weight: 1.88...

Vaso piedistallo della Jardiniere U&C Sarreguemines, in ottime condizioni. Fine del XIX secolo.

17th Century pair of Abruzzo Maiolica Albarelli Waisted cylindrical form decorated with classical figures. White tin glaze with blue decoration. Dimensions: 29 x 12 cm.

Vivid colors, hand-painted in the Renaissance style, enhance this large maiolica pot from the 1800’s. Maiolica is tin-glazed pottery from Italy that has been decorated over a white background. This pot is considered an istoriato, which is to say that the pot has been decorated with figures, rather than strictly geometric patterns or floral designs. The maiolica does incorporate floral and foliate motifs, with white flowers that have yellow centers surrounded by blue rings. There are also yellow flowers that are depicted in various stages of nyctinasty (the closing of flowers during the night). The flora is all connected by a series of green and yellow curled leaves. Behind the vegetation is a dark blue background. There are two portraits inside large yellow cartouches that are painted in the middle of the pot. The first is a bearded man, dressed in a light brown tunic...

Characteristic four-handled polychrome majolica vase born from the artistic collaboration of Gibus and M. Redon. The object represents a fusion of Neo-Renaissance and Art Nouveau fea...

A French 18th century large polychrome Faience lidded soup toureen or entree dish with scallop-shaped edges attributable to Rouen manufacture. This lovely...

Large ceramic plaque/plate, usable as a centerpiece or wall plate. Italian-made in the 1960s, it was made by the Petucco and Tolio workshop in Nove (Vicenza). It bears the brand nam...

Large polychrome faience amphora with ovoid body and winged sphinx handles. Decorated in the round with mythological motif depicting the rise of the gods to Mount Olympus. The master...

An Abruzzo maiolica 'albarelli' in good condition. White tin glaze, waisted cylindrical form decorated in blue, with a classical figure of a putto surrounded by trees and flowers. ...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

An exceptional Renaissance Revival Maiolica tin-glazed plate painted with a side profile portrait of a lady within a decorative border with a line painted design to the base. The lig...

An impressive 18th century polychrome decorated drug jar or 'Albarello'. The Albarello is of a typical waisted shape, and is decorated profusely in polychrome. The body of the jar is...

Castelli manufacture polychrome majolica parade plate with a scene historiated with mythological subjects Diana and Endymion.

Cup, vase, two-handled (with two side handles). Manufactured in Pesaro, Italy, 1920. Made of polychrome artistic majolica, decorated with leaves and birds. The two side handles are e...

A stunning and rare antique Italian Maiolica pottery triple gourd vase hand-painted with classical stylised figurative and scroll designs in typical ...

18th century Italian collectible antique painted majolica bowl, a large basin-shaped centerpiece, with vertical ribs, decorated with polychrome flowers. Small chips, felure and minor...

I vasi cilindrici in Maiolica prodotti per Grand Tour sono emblema dell'eccellenza dell'artigianalità Made in Italy. Alti 24cm con diametro di 13 sono perfetti come porta fiori, fogl...

An Italian maiolica berrettino-ground riser from 18th century, central Italy, probably Faenza origin. In the central part of the riser a ruined tower is painted within a mountain lan...

Laveno Angelo Biancini pair of vases 1930 Maiolica earthenware, Italy.

This pair of majolia shelves with vase is beautiful and refined. Characterized by a rich decoration and bright colors of baroque taste typical of Sicilian production in southern Ital...

AN ENGLISH MAJOLICA PEDESTAL IN EGYPTIAN TASTE by JAMES WARDLE & CO. Circa 1880 Modeled with winged lions at each corner enclosing a stylized Egyptian ornament. Moulded laurel wreat...

Maiolica flower pot “a mezzaluna” decorated with tulip Pasquale Rubati Factory Milan, circa 1770. Measures: 4.7 in x 4.7 in x 8.6 in 12 cm x 12...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Painted with a bird perched on flo...

Pot of Majolica 1930, signed Ginori model 1208-3130, accompanied by an authentic archives Gio' Ponti.

Enrico Mazzolani ceramic female figure, Italy, 1930s.

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter l...

Two maiolica flower pots Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire) The...

Exceptional and exclusive Bas Rilief, 1950 Germano Belletti " Centauri" in Faenza, 1914 works with Pietro Melandri, Riccardo Gatti, Mario Morelli. Apprezzated to Giò Ponti.

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, circa 1770 Measures: each 4.7 in (cm 12) x 5 in (c...

Centerpiece white maiolica shell Ferniani factory, early period: 1693-1776 Faenza, circa 1700 Measures: 5.6 in x 14.72 in x 13.46 in (14.3 cm x 37.4...

Maiolica flower pot “a mezzaluna” decorated with garlands of flowers Pasquale Rubati Factory Milan, circa 1770 Measures: 4.7 in x 5 in x 8.8 in ...

Maiolica flower pot “a mezzaluna” with support feet decorated with little bunches of flowers Pasquale Rubati Factory Milan, circa 1770 5.5 in X ...

GIO PONTI -Pot of Majolica 1930, signed Ginori model 3130, accompanied by the authentic certiate from Gio' Ponti Archives.

Centerpiece light blue maiolica shell Ferniani factory, early period: 1693-1776 Faenza, 1700 circa 5.5 in x 14.72 in x 13.77 in (14 cm x 37.4 cm X cm 35) lb 4.40 (kg 2) State of con...

Pair of polychrome majolica amphorae with grotesque motifs. Reserves on both sides decorated with allegorical-mythological motifs. The highly inset side handles are supported by wing...

Large polychrome faience crater vase with serpentiform handles. Historiated decoration with mythological subject: "The Rape of Proserpine," there is also depicted the lake of Pergusa...

Majolica depicting a Boxer breed dog of Tuscan manufacture, executed around 1960s. It measures 28x52x78 cm and is airbrushed, coated, modeled and finished by hand. Majolica is a ty...

Beautiful, large bowl designed by Aldo Londi for Bitossi, for which he was art director, in the early 1950s. It is molded with refractory earth in shades of brown with a rather rare ...

Vaso della serie Pleiadi di Marta Servadei. Realizzato in argilla liquida fusa sottoposta a tre fai di cottura. Decorato da scintillanti strisce sottili di maiolica smaltata di bia...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and vibes. Sun-blessed pure volumes, shapes mar...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and v...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and vibes. Sun-blessed pure volumes, shapes mar...