This Piero Fornasetti Set of Eight Porcelain Love Coasters, 1960s is no longer available.
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Each coaster has a central white heart on a gold ground. Within each heart is a saying about love framed by a different heart shaped border.
The saying or proverbs read as follows
Love is not without fear
Whate (sic) the heart thinks the mouth speaks
Who loves me well loves my dog also
Seek your salve where you got your sore (A Hand-book of Proverbs: Comprising Ray's Collection of English Proverbs ... By Henry George Bohn, John Ray, Page 482)
Love is shown by many a bitter sign (from The complete works, Volume 1
By George Noël Gordon Byron (Baron Byron), John Galt)
Love and red nose can't be hid
The new love oft chaseth out the old
Love is ne'er without jealousy.
Mark: each marked and numbered.
Reference: Fornasetti: The Complete Universe, Barnaba Fornasetti, Page 608, #139. for period photograph of protypes made by Piero Fornasetti and presented by Cerarniche di Bollate at the VIII Milan Triennale in 1947 with this designs with hearts.
About Piero Fornasetti (Designer)
The Italian artist and illustrator Piero Fornasetti was one of the wittiest and most imaginative design talents of the 20th century. He crafted an inimitable decorative style from a personal vocabulary of images that included birds, butterflies, hot-air balloons, architecture and — most frequently, and in some 500 variations — an enigmatic woman’s face based on that of the 19th-century opera singer Lina Cavalieri. Fornasetti used transfer prints of these images, rendered in the style of engravings, to decorate an endless variety of furnishings and housewares that ranged from chairs, tables and desks to dishes, lamps and umbrella stands. His work is archly clever, often surreal and always fun.
Fornasetti was born in Milan, the son of an accountant, and he lived his entire life in the city. He showed artistic talent as a child and enrolled at Milan’s Brera Academy of Fine Art in 1930, but was expelled after two years for consistently failing to follow his professors’ orders. A group of his hand-painted silk scarves, displayed in the 1933 Triennale di Milano, caught the eye of the architect and designer Gio Ponti, who, in the 1940s, became Fornasetti’s collaborator and patron. Beginning in the early 1950s, they created a striking a series of desks, bureaus and secretaries that pair Ponti’s signature angular forms with Fornasetti’s decorative motifs — lighthearted arrangements of flowers and birds on some pieces, austere architectural imagery on others. The two worked together on numerous commissions for interiors, though their greatest project has been lost: the first-class lounges and restaurants of the luxury ocean liner Andrea Doria, which sank in 1956.
Fornasetti furnishings occupy an unusual and compelling niche in the decorative arts: they are odd yet pack a serious punch. They act, essentially, as functional sculpture. A large Fornasetti piece such as a cabinet or a desk can change the character of an entire room; his smaller works have the aesthetic power of a vase of flowers, providing a bright and alluring decorative note. The chimerical, fish-nor-fowl nature of Fornasetti’s work may be its greatest strength. It stands on its own.
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