Naturalistic Ceramic Centerpiece Marine Handmade in Italy Without Mold, 2023

The piece is a unique representation of a man in a modern way. The man is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mold....

The piece is a unique representation of a man in a modern way. The man is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mold....

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces complet...

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mo...

Fire-glazed ceramic marine animal sculpture, signed on the back with initials, 1960s.

Christopher Columbus bust, ceramic Columbus bust, Christopher Columbus sculpture, Hand-molded bust of Christopher Columbus on light-colored ceramic visible signature Stefano Todini. ...

This is such a wonderfully designed pair of Italian ceramic white footed bowls full of realistic fruit that have been finished in a yellow glaze, making a bright and festive pair of centerpieces or decorative accessories. The neutral white and cheery yellow will make any space or dining area more inviting and pleasant. Each piece is about 7 inches high and 7 to 8 inches wide, some of the leaves, which seem to be acting as connecting pieces, have broken edges which I have photographed, they are hard to see and would be easy to color over. Thanks for visiting The Moody Carpenter...

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...