Italian Maiolica Crespina a Compendiario Style, Center Italy, Late 17th Century

Italian Maiolica Pitcher with a Rampant Lion, Central Italy , Ca 1850 This unmarked Maiolica Pitcher with a cream white background is decorated on the front with a cobalt blue rampa...

Italian Cantagalli Maiolica Large Plate with family noble emblem, Late 19th Century During the 19th century Renaissance-Revival period the Cantagalli Maiolica and ceramic factory near Florence produced authentic copies of Renaissance Maiolica using traditional methods of tin glazing earthenware. This large Maiolica plate from the late 1800s is marked on the back with the symbol of the Rooster, which indicates that it was created by the Cantagalli ceramics factory. The plate is decorated in the center with the noble emblem of the house of Frederick Stibbert, a well-known late 19th century English/Italian collector of ancient weapons...

Italian Maiolica "La Bella" Istoriato Lustered red water jug, 19th century. Maiolica: The fired, but still unglazed pottery is covered with a white tin gl...

A fantastic late 17th-early 18th century Italian oil on canvas of a battle scene attributed to Francesco Graziani. Measurements are canvas only.

A late 17th century marble sculpture of a saint, possibly Central Italian. Monogrammed on the marble base "F G F."

Spanish Baroque walnut desk table, late 17th century. A rectangular single plank (1.25-inch thick) walnut top is sitting over 2 geometrical car...

Ceramic mortar produced at the Teruel pottery workshops in the 17th century. It has a truncated cone shape with three handles and a pourer. It is tin-...

Crespina Faenza, last quarter of the 16th century Maiolica painted in two colors, light blue and yellow, on a thick, rich layer of white enamel. It measures 2.24 in (5.7 cm) in height, 6.10 in (15.5 cm) in diameter. lb 0.55 (kg 0.25) State of conservation: mimetic restoration. The small cup has a raised central “umbone”, a perforated brim and a shaped rim. It rests on a high jutting foot. The "crespina" shape, in some inventories is cited as "tacce de frute" (fruit cups). It was particularly appreciated in the Renaissance and has variants based on the formal types and the different sizes. The decoration, made according to the dictates of the “compendiario” style, used few standardized colors: blue and yellow on a thick white and shiny enamel, deliberately chosen as the colour which was most reminiscent of silver. This choice derived from a trend in creative design of the era: the shapes used in the molds were often taken from metal objects. An idea which would last throughout the Renaissance. The work shows, in the middle of the “umbone”, a winged putto stepping forward while playing a long thin trumpet. The depiction of the putto is fully representative of the repertoire of the Faenza workshops of the sixteenth century. Some specimens with this type of decoration have been published in a volume by Carmen Ravanelli Guidotti: there appears the whole productive repertoire of this fundamental moment of transition between the taste for the “istoriato” style and the great simplification of decoration in the “compendiario” period. This style, in its simplicity, however, saw its expression in a rather varied collection of decorative subjects, including old-fashioned busts...

This beautiful turquoise maiolica patterned Italian albarello (late 1800s early 1900s) was found in Palazzo Torlogna in Rome. Albarelli were ancient storag...

17th century Portuguese " Vase " Measures: 160cm x 146cm 110 tiles Important note: This panel is with the tiles restored 17th century. T...

17th Century Portuguese " Vase " Measures: 73cm x 87cm 30 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pai...

17th century Portuguese " Vase " 100cm x 85cm 42 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a painting with a wo...