Renaissance Jars

Pair of large Italian glazed terracotta Jars « vase biansato » Montelupo, around 1620-1630 Measures: H 51 x 43 cm Two rare and important wine jars (orci maiolicati) of baluste...

Heavy patinated bronze with inscription Amor. Vincit. Omnia. Ao. 1643.

Tin-glazed earthenware drag jar (albarello) Montelupo, 1490-1510 It measures: mouth diameter 3.54 in (9 cm), foot diameter 3.46 in (8.8 cm), height 7.48 in (19 cm) Weight: 1.34 lb (612 g) State of conservation: intact, signs of use on the rim and slight chips on the raised areas. Kiln-support marks. The small apothecary container for unguents has a cylindrical body which tapers towards the base and the flat foot. The shoulder is narrow and high, with elegant lines. The mouth is wide with a rounded edge and turned-out lip. The vase has an enameled interior. The exterior shows a white enamel surface entirely covered with "palmetta persiana" motifs (pinecone motifs). These are arranged symmetrically and horizontally. A series of double sinuous lines encircle an area where, along with the main decoration, there are "alla porcellana" (porcelain) motifs combined with green and orange oval leaves. A "nastro spezzato" (broken ribbon) decoration, usually found on the brim of plates, runs along the neck to complete the decoration. All the ornaments attest to an oriental inspiration that can be traced back relatively accurately to the Iranian or Syrian area. This decoration was also very successful in other contemporary Italian manufacturers (C. Ravanelli Guidotti, Thesaurus di opere della tradizione di Faenza, Faenza 1998, pp. 169-174), but in Montelupo it was interpreted in various ways due to the eclectic nature of its painters. There is an abundant use of the precious cobalt blue, almost in relief, and is often associated with yellow-orange inserts. This imitates the metallic luster in symmetrical points between the petals. The background is decorated with thin sinuous lines, which, for Fausto Berti (Berti F., Il Museo della ceramica di Montelupo, Firenze 2008, pp. 270-272, n. 22 g e Berti F., Storia della ceramica di Montelupo, Montelupo Fiorentino 1999, p. 140), might suggest the presence of a stem that supports the corollas and two-colored leaves. These, pointed and accompanied by dots, spirals and subtle "alla porcellana" (porcelain) motifs, fill the white background. The form and the decorative synthesis described above lead us to an even earlier dating, between the end of the fifteenth century and the first twenty years of the sixteenth century, when the palette chosen by the workshops was still rich and marked and the pictorial ductus was sought after. (Berti F., Storia della ceramica di Montelupo. Montelupo Fiorentino, 1999, p. 138-140). The documentation of this decoration is more common in open forms than in closed ones. For this reason, our albarello finds rare examples of comparison, three of which are very close: an albarello, similar in size, is kept at the Museé du Louvre in Paris (Giacomotti. J., Catalogue des majoliques des musées nationaux, Parigi 1974, p. 39 cat. 143); another one is at the Victoria & Albert Museum in London (Sani E. P., Italian Renaissance Maiolica...

Circular with waisted body with central portrait of a man with a hat.

This charming Renaissance style aiguiere with tinted glass comes from France toward the last quarter of the 19th century. An aiguiere is a decorative ewer that has a handle and a ...

This charming porcelain potpourri was crafted by the renowned French ceramicist Jacob Petit, one of the finest porcelain artists of the 19th centur...

Gubbio is a beautiful town of ancient origins. Its strategic position and the dominance of wealthy and politically important families during the Renaissance greatly contributed to the development of Arts & Crafts. The three brothers settled in Gubbio in 1498. In their Bottega they elaborated a special lustre technique which allowed them to obtain an exquisite golden and red iridescent effect on polychrome figurative Majolica. The success was huge and, despite the high prices and the limited production, noblemen and wealthy merchants lined up to own one of Mastro Giorgio masterpieces. At the beginning of the 20th century important studies on the Etruscan techniques allowed the production of an old ceramic artwork called “bucchero”. Beautiful, classically shaped pots and urns...

Beautiful small Italian Renaissance style hand painted ceramic item made in Italy in the 20th century.  

Of typical form with central cartouche with inscription TDMRRA. Some losses to glazing.

A nice pair of Italian blue and white faience apothecary jars with glazed decoration depicting castles and coats of arms, 19th century.