Maiolica Serveware, Ceramics, Silver and Glass
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Material: Maiolica
Italian Renaissance Plate, Patanazzi Workshop Urbino, End of 16th Century
Located in Milano, IT
Acquareccia plate
Patanazzi workshop
Urbino, last quarter of the 16th century
It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm).
Weight
State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back.
This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well.
The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person.
The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher.
Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background.
This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures.
The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”).
The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client.
Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style.
The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work.
Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco.
Bibliography:
Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
17th Century Italian Deruta Maiolica Salt
Located in Basildon, GB
17th Century Italian Deruta Maiolica Salt, probably made in Caltagirone in Sicily, the central circular dish within four scroll dishes supported by a Sphinxes and lions on on a cross...
Category
Late 17th Century Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Two Small Italian Dishes Antonio Maria Coppellotti Manufacture, Lodi, Circa 1740
By Antonio Maria Coppellotti
Located in Milano, IT
Two small dishes
Antonio Maria Coppellotti Manufacture
Lodi, Circa 1740
High fire polychrome majolica
They measure: diameter 7.08 in(18 cm)
Weight: 0.37 lb (170 g)
State of conservat...
Category
1740s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Hispano Moresque Lustreware Dish - 17th century, Manises
Located in DELFT, NL
17th century Hispano-Moresque lusterware charger decorated with a central 'Pardalotto' bird within stylized floral motifs.
The tin-glazed lusterware produced at Manises shows the pa...
Category
17th Century Spanish Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Faience, Luster, Maiolica
Manifattura San Carlo della Real Fabbrica di Caserta - Serving dish 18th century
By Moustiers
Located in DELFT, NL
Manifattura San Carlo della Real Fabbrica di Caserta - Serving dish in Moustiers style with scalloped edge decorated in ocher and green monochrome with a medallion in the center of t...
Category
18th Century French Chinoiserie Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Faience, Maiolica
A Deruta Maiolica Dish Early 16th Century
Located in Firenze, IT
SHIPPING POLICY:
No additional costs will be added to this order.
Shipping costs will be totally covered by the seller (customs duties included).
The centre painted with archaic de...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Renaissance Plate, Patanazzi Workshop Urbino, End of 16th Century
Located in Milano, IT
Acquareccia plate
Patanazzi workshop
Urbino, last quarter of the 16th century
It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm).
Weight
State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back.
This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well.
The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person.
The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher.
Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background.
This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures.
The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”).
The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client.
Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style.
The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work.
Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco.
Bibliography:
Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Spanish Azulejo Tile Arista y Cuenca - Toledo 16th century
Located in DELFT, NL
Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design.
Probably made between 1550 and 1575.
In very g...
Category
16th Century Spanish Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Maiolica
midcentury SCHRAMBERG MAIOLICA box Barbotine FISH TUREEN TERRINE handpainted
Located in Landshut, BY
midcentury
SCHRAMBERG MAIOLICA
Barbotine
FISH TUREEN TERRINE
handpainted
Design Period 1955 to 1965
Production Period around 1960
Country of Manufacture Germany
H / height: 11cm both ~ Gew. / weight: 2950grs
DM / diameter casserole : 30 cm x 15cm x 11cm high ~ 19cm with its lid
MARKED: Schramberger Majolikafabrik 5624
:-: fair condition with some very small chips (see photos)
- Considering the sensitive material I would even say it is in good condition
-- let´s call it charming vintage :-:
To ensure a safe arrival, this item is packed in super-safe packaging.
(up to 10 Kg)
SMF SCHRAMBERG was originally founded in 1820 as Faist'sche Steingutfabrik by the stoneware expert Isidor Faist on the site of the abandoned Schramberg castle. By 1829, Faist and his factory had gained such a good reputation that Baron Ferdinand von Uechtritz became his partner under the new name of Steingut- und Majolikafabrik Uechtritz & Faist. With the Baron's financial support, the partners were able to build a new factory behind the castle, which dramatically increased production. By the 1860s, the company had a permanent workforce of 100 and an impressive number of almost 6,000 homeworkers (decorators, etc.), mainly children and women. From 1882, Faist began taking orders from Villeroy & Boch, who eventually bought the Schramberg pottery in 1883 and continued to operate it as a V&B subsidiary until the early 20th century. In 1911, several of the factory buildings had to be demolished to make way for the local railway, which drastically reduced production and caused Villeroy & Boch to lose interest in the site, which they sold to brothers Moritz and Leopold Meyer in 1912. It was the Meyers who introduced the "SMF" trademark and eventually gave the company its permanent name, Schramberger Majolika-Fabrik. In 1918 the company was transformed from a sole proprietorship to a limited liability company and the transformation was complete.
The Meyer brothers were always on the lookout for new talent, and many famous artists joined the factory or contributed designs in the years that followed. Their decorative ceramics, stylized in vibrant colours, attracted much attention in the 1920s.
Eva Stricker-Zeisel was a prominent designer for the company from 1928 to 1930. Her designs were strongly influenced by the Bauhaus movement and her modern form and decoration designs gave an avant-garde look to part of the production programme. As well as designing the shapes, Eva Zeisel also supplied the intended decorations for the pieces, although the decoration department often adapted her decorations to shapes for which they were not intended. They would even use them on shapes other than those designed by Zeisel and apply decors not designed by her to her shapes. This particularly happened with the very popular 'Mondrian' pattern, which often appeared on non-Zeisel shapes. The factory continued to produce Zeisel's designs for some time after her departure, but she sometimes felt that the designs were not exactly as she had intended.
With the economic crisis of the early 1930s, the focus of production shifted to tableware and utilitarian ceramics, until the Nazis forced Moritz and Leopold Meyer to sell the factory in 1938 as part of the forced aryanisation of the German state. Both emigrated to England with their families during the war, but in 1949 Peter Meyer...
Category
Mid-20th Century German Mid-Century Modern Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
huge French Majolica Fish Platter Sarreguemines 1950s in very good condition
Located in Landshut, BY
huge French Majolica Fish Platter
Sarreguemines 1950s
in very good condition
German : Saargemünd / French Sarreguemines) is situated in the north-east of France, on the border wi...
Category
Mid-20th Century German Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Maiolica Ancient Sugar Bowl, Lodi, 1770-1780
Located in Milano, IT
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...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Spanish Moorish Mudejar Tile, Arista y Cuenca - Sevilla 16th century
Located in DELFT, NL
Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ technique with intricate geometric decoration.
Good condition; some chipping to the edges, some wear to ...
Category
16th Century Spanish Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Clay, Maiolica
Maiolica Italian Dish 1700s Polychrome Floral Decor with Heraldic Coat of Arms
Located in Milano, MI
Antique Dish In Polychrome Majolica of Italian origin, dating from about 1750 with white background and mixtilinear rim centered by coat of arms heraldic, a cardinal's coat of arms ...
Category
Mid-18th Century Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Maiolica Ancient Tureen, Lodi, 1770-1780
Located in Milano, IT
Maiolica tureen
Antonio Ferretti Manufacture
Lodi, circa 1770-1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures 9.05 x 12.59 x 9.05 in (23 x 32 x 23 cm)
...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Pesaro - Albarello and cover - decor 'al tacchiolo', 18th century
Located in DELFT, NL
Albarello wand cover with polychrome decoration called “al tacchiolo” of foliage with stylized flowers.
Marked under the base: “N° 49"
18th century. Height: 15 cm incl lid, diameter ...
Category
Late 18th Century Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Small Maiolica Plate, Urbino District, 1533-1555
Located in Milano, IT
Maiolica plate (tondino)
Urbino district, Casteldurante or Pesaro, 1533-1555
It measures: diam. 7.48 in (19 cm), foot diam. 2.75 in (7 cm), height 1.0...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Coffee Pot, Coppellotti Manufacture, Lodi, Circa 1740
By Antonio Maria Coppellotti
Located in Milano, IT
Coffee pot
Antonio Maria Coppellotti Manufacture
Lodi, Circa 1740
High fire polychrome maiolica
It measures: 7.87 in x 6,49 x 5.11 (20 cm x 16,5 x 13); weight 1.23 lb (561 g)
...
Category
1730s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Maiolica Pitcher Antonio Maria Coppellotti Manufacture, Lodi, Circa 1735
By Antonio Maria Coppellotti
Located in Milano, IT
Majolica pitcher
Antonio Maria Coppellotti Manufacture
Lodi, circa 1735
Majolica decorated in cobalt blue monochrome
It measures 7.36 in hight x 8.07 x 4.52 (h 18.7 cm x 20.5 x 11.5...
Category
1730s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Spanish Azulejo Tile Arista y Cuenca - Sevilla 16th century
Located in DELFT, NL
Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce.
Mid 16th century
In very good conditi...
Category
16th Century Spanish Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Maiolica
Ancient Italian Maiolica Tureen Milano, 1770 circa
Located in Milano, IT
Maiolica tureen “allo struzzo” (ostrich decoration)
Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780
Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26)
lb 4.78 (kg 2.17)
State of conservation, a felûre consolidated inside with slight edge chipping restored.
In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati.
Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories.
This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles.
The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem.
The lid is ribbed with a pear-shaped knob on top.
The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...
Category
1770s Italian Chinoiserie Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Pesaro - Large albarello - 'al tacchiolo' decor, 18th century
Located in DELFT, NL
Very large albarello with polychrome decoration called “al tacchiolo” of foliage with stylized flowers.
Marked under the base: “N°20
Pesaro, 18th century.
Fabbrica Casali Callegari
...
Category
Late 18th Century Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
19th Century Antique Majolica Large Vase, Signed
Located in Casale Monferrato, IT
We present this fantastic large antique vase made of majolica in the 19th century. The vase is characterized by a refined enamel decoration in shades of blue. The attention is certai...
Category
19th Century Unknown Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Maiolica Tureen, Rubati Manufacture, Milan, circa 1770-1780
Located in Milano, IT
Maiolica tureen
Pasquale Rubati Manufacture
Milan, circa 1770 - 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures 6.69 in x 11,02 x 8.26 (17 x 28 x ...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Savona - Armorial Alzatina dish on stand, 18th century, Savona Crest Mark
Located in DELFT, NL
A Savona alzatina or crespina, dish on stand, with blue decor. On the front a heraldic coat of arms with a lion adorned with crown and putto. In the background elaborate architecture...
Category
18th Century Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Faience, Maiolica
Spanish Azulejo Tile Arista y Cuenca - Toledo 16th century
Located in DELFT, NL
Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design.
Probably made between 1550 and 1575.
In very g...
Category
16th Century Spanish Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Maiolica
Antique Continental Maiolica Moulded Lustre Figural Wall Plaque / Dish
Located in Bishop's Stortford, Hertfordshire
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...
Category
19th Century European Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica, Earthenware
Italian Blue and White Maiolica Tazza, Savona, circa 1690
Located in Kinderhook, NY
A circa 1690 Italian maiolica shallow tazza of Savona manufacture having elaborately molded and pierced rim with reserves decorated allover in hand-painted underglaze blue florals an...
Category
Late 17th Century Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Pair of Italian Maiolica Tureens, Ferretti Manufacture, Lodi Circa 1770 - 1780
Located in Milano, IT
Pair of maiolica tureens
Antonio Ferretti Manufacture
Lodi, circa 1770-1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
a – 8.66 x 11.02 x 7.48 in (22 x 28 x 19...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Tiles, Ambrogette, Rampini Manufactory, Pavia, 1693-1704
Located in Milano, IT
Six maiolica “ambrogette” (tiles)
Rampini manufactory, painter probably Siro Antonio Africa
Pavia, 1693-1704
a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g)
b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g)
c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g)
d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g)
e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g)
f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g)
State of conservation: intact.
These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997).
The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design.
The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture.
In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories.
The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica.
In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...
Category
Early 1700s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Four Italian majolica pitchers
Located in Milano, IT
The four majolica pitchers can be traced to the Renaissance period and an Italian production. Specifically, three of them were produced in Faenza between the 15th and 16th centuries ...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Tureen Ferretti Manufacture, Lodi, Circa 1770 - 1780
Located in Milano, IT
Maiolica tureen
Antonio Ferretti Manufacture
Lodi, Circa 1770 - 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures 9.06 in in height x 13.39 in x 9.84 i...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Renaissance Maiolica Crespina, Faenza, 1580 Circa
Located in Milano, IT
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...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Deruta - Alzatina dish on stand, 18th century
Located in DELFT, NL
An alzatina or crespina, dish on stand. Depicting 'Prudentia'; holding a snake and a mirror in her hands.
Italy, 18th century. Dimensions: diam. 23 cm.
Good condition: chipping ...
Category
18th Century Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Faience, Maiolica
Italian Maiolica Cup Ferretti Lodi, circa 1770 - 1780
Located in Milano, IT
Maiolica puerperal cup
Antonio Ferretti Manufacture
Lodi, Circa 1770 - 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm)
Weight: 0.78 lb (358 g)
State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked.
From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany.
In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility.
During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc.
Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift.
This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor.
In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Two Pairs of Italian Maiolica Baskets, circa 1780
Located in Milano, IT
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...
Category
1770s Italian Neoclassical Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Cantagalli Maiolica Large Plate with family noble emblem, Late 19th C.
By Cantagalli
Located in CH
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...
Category
Late 19th Century Italian Renaissance Revival Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Ceramic, Maiolica
Ancient Maiolica Tureen Ferretti Manufacture, Lodi, Circa 1770 - 1780
Located in Milano, IT
Maiolica tureen
Antonio Ferretti Manufacture
Lodi, Circa 1770 - 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures 9.06 in in height x 13.39 in x 9.84 i...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Assortment Coffe Pot and Cups, Lodi, Circa 1765-1770
Located in Milano, IT
A coffee pot and two cups with saucers
Antonio Ferretti Manufacture
Lodi, Circa 1765-1770
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
They measure:
coffee pot: 9....
Category
1760s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Renaissance Maiolica Crespina, Faenza, 1580 Circa
Located in Milano, IT
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...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
A Pair of Minton Majolica Baskets or Jardinieres by Albert Carrier-Belleuse.
Located in Skanninge, SE
A pair of Minton Majolica Reticulated Baskets, designed by Albert-Ernest Carrier-Belleuse (1824-1887).
Excellent condition on both pieces, no issues!
Made in lead-glazed earthenware (Mintons "Majolica").
With full marks "MINTON 1210".
Albert-Ernest Carrier-Belleuse worked at Minton as chief designer between 1850 and 1855. During his time at Minton, he created models for porcelain items, including vases and sculpture...
Category
1860s English Victorian Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Spanish Azulejo Geometric Tile Arista y Cuenca - Sevilla 16th century
Located in DELFT, NL
Rare early 16th century Mudejar tile of the so-called ‘Aristo’ or 'cuerda secca' technique
Geometric design with a central intertwining cords. Very ornate decoration.
This type of...
Category
16th Century Spanish Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Earthenware, Maiolica
Italian Maiolica Service Pasquale Rubati Milano with Green Flowers, circa 1780
Located in Milano, IT
Assortment of 21 maiolica service elements
Pasquale Rubati Factory
Milan, 1780 circa
a. Four large oval dishes or fish dishes 10.43 in x 21.25 in (26.5 c...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Cantagalli Armorial Vase, Ulisse Cantagalli, circa 1890
By Cantagalli
Located in CH
Cantagalli Armorial Vase, Ulisse Cantagalli (1839-1901)
During the 19th century Renaissance-Revival period the Cantagalli Maiolica and Ceramic Fac...
Category
1890s Italian Renaissance Revival Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Plates Pasquale Rubati, Milan Circa 1770-1780
Located in Milano, IT
Five oval maiolica dishes with pierced edge
Manufacture of Pasquale Rubati
Milan, 1770-1780
Three small oval dishes 10.23 in x 7.67 in (26 cm x 19.5 cm)
Two large oval dishes 10.82 in x 8.85 in (27.5 x 22.5 cm)
lb 3.5 (kg 1.8)
State of conservation: intact
The five dishes of different sizes have an oval shape, a mixtilinear edge and a molded polylobed shape with a surface enriched with a relief weave motif extending to the brim and forming a perforated basket...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Antique French Faience Lidded Bowl Tureen Hand Painted with Flowers and Insects
By Rouen
Located in Firenze, IT
A French 18th century large polychrome Faience lidded soup toureen or entree dish with scallop-shaped edges attributable to Rouen manufacture.
This lovely...
Category
18th Century French Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica, Faience, Pottery, Porcelain
18th Century Italian Maiolica Centerpiece Bassano Venice, circa 1750
Located in Milano, IT
Maiolica centerpiece
Pasquale Antonibon factory
Nove di Bassano, Venice, 1740-1770.
Measures: 1.85 in x 19.21 in x 15.27 in
4.7 cm X 48.8 cm X 38.8 cm.
lb 5.29 (kg 2.4)
State of conservation: thin passing fêlure with covered chipping and a glued foot
The Antonibon were an important family of Venetian...
Category
1750s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Tiles, Ambrogette, Rampini Manufactory, Pavia, 1693-1704
Located in Milano, IT
Six maiolica “ambrogette” (tiles)
Rampini manufactory, painter probably Siro Antonio Africa
Pavia, 1693-1704
a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g)
b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g)
c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g)
d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g)
e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g)
f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g)
State of conservation: intact.
These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997).
The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design.
The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture.
In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories.
The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica.
In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...
Category
Early 1700s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Maiolica Ancient Tureen, Lodi, 1770-1780
Located in Milano, IT
Maiolica tureen
Antonio Ferretti Manufacture
Lodi, circa 1770-1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures 9.05 x 12.59 x 9.05 in (23 x 32 x 23 cm)
...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Assortment Coffe Pot and Cups, Lodi, Circa 1765-1770
Located in Milano, IT
A coffee pot and two cups with saucers
Antonio Ferretti Manufacture
Lodi, Circa 1765-1770
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
They measure:
coffee pot: 9....
Category
1760s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Guido Gambone, Orange Glaze Maiolica Vase or Jug, 1950s, signed
Located in Wargrave, Berkshire
Guido Gambone (1909-1969)
Maiolica Vase with Loop Handle
Orange glaze with oval reserve to each side painted with graphic symbols on a white ground
signed to base Gambone / Italy and...
Category
1950s Italian Mid-Century Modern Vintage Maiolica Serveware, Ceramics, Silver and Glass
Materials
Ceramic, Maiolica, Pottery
Antique Italian Maiolica Classical Painted Vase 19th Century
Located in Bishop's Stortford, Hertfordshire
A stunning and rare antique Italian Maiolica pottery triple gourd vase hand-painted with classical stylised figurative and scroll designs in typical ...
Category
19th Century Italian Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica, Pottery
Maiolica Pitcher Antonio Maria Coppellotti Manufacture, Lodi, Circa 1735
By Antonio Maria Coppellotti
Located in Milano, IT
Majolica pitcher
Antonio Maria Coppellotti Manufacture
Lodi, circa 1735
Majolica decorated in cobalt blue monochrome
It measures 7.36 in hight x 8.07 x 4.52 (h 18.7 cm x 20.5 x 11.5...
Category
1730s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Torquato Castellani Majolica Renaissance Revival Tin-Glazed Charger
Located in Bishop's Stortford, Hertfordshire
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...
Category
1880s Italian Renaissance Revival Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica, Earthenware
Santucci Deruta Oil and Vinegar Majolica with Raphaelesque
By Deruta
Located in Lugo, IT
Santucci Deruta Oil and Vinegar Majolica with Raphaelesque decoration.
Good condition.
Thanks
Category
1980s Italian Vintage Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Italian Maiolica Rose Dishes by Pasquale Rubati Milano, 1780 circa
Located in Milano, IT
Assortment of 12 elements with polychrome and gold decoration
Pasquale Rubati Factory
Milan, circa 1770- 1790.
Two oval trays 10.62 in x 8.58 in (27 x 21.8 cm)
Two dishes with perforated brim diameter 10.43 in (26.5 cm)
Eight round dishes 9.37 in (23.8 cm)
lb 10.14 (kg 4.6)
State of conservation: very good, except for light chips with color drops at the edges, a greater one in a round dish.
This rare set of dishes has great decorative impact and confirms the undisputed artistic ability of Pasquale Rubati's productions during the period of his greatest success. It also attests to the taste of the great Milanese commissions of the eighteenth century.
Pasquale Rubati, a refined painter, opened his own factory in Milan in 1756, in competition with Felice Clerici...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Dishes with flowers, Lombard Manufacture, 1770-1780 Circa
Located in Milano, IT
Assortment of dishes
Lombard manufacture
1770 – 1780 Circa
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Alchimie Contemporary Maiolica Vase with Decorative Design by Vito Nesta
By Vito Nesta
Located in Milano, Lombardia
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...
Category
2010s Italian Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Pair of Italian Maiolica Vases, Coiled Snake Handles, Ca. 1880
By Capodimonte
Located in Banner Elk, NC
Pair of Italian Maiolica Vases, of baluster form, with polychrome Renassance style decptions, on pedestal bases, with large molded and applied snakes forming the handles, the reverse...
Category
Late 19th Century Italian Renaissance Revival Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Small Maiolica Plate, Urbino District, 1533-1555
Located in Milano, IT
Maiolica plate (tondino)
Urbino district, Casteldurante or Pesaro, 1533-1555
It measures: diam. 7.48 in (19 cm), foot diam. 2.75 in (7 cm), height 1.0...
Category
16th Century Italian Renaissance Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Coffee Set “Barbotine” Decoration Milan, 1770- 1780
Located in Milano, IT
Coffee assortment with “barbotine” decoration
Manufacture of Pasquale Rubati or Felice Clerici
Milan, 1770- 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
San Polo Venezia Otello Rosa Futurismo Pitcher
By Otello Rosa
Located in Sharon, CT
Extraordinary multi colored and multi faceted majolica pitcher made
by San Polo Venezia, designed by Otello Rosa. Signed and numbered
on the bottom.
Category
1960s Italian Mid-Century Modern Vintage Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Italian Maiolica Cup Ferretti Lodi, circa 1770 - 1780
Located in Milano, IT
Maiolica puerperal cup
Antonio Ferretti Manufacture
Lodi, Circa 1770 - 1780
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm)
Weight: 0.78 lb (358 g)
State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked.
From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany.
In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility.
During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc.
Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift.
This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor.
In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Dishes with flowers, Lombard Manufacture, 1770-1780 Circa
Located in Milano, IT
Assortment of dishes
Lombard manufacture
1770 – 1780 Circa
Maiolica polychrome decorated “a piccolo fuoco” (third fire).
Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
18th CENTURY PHARMACY ALBARELLO FAENZA
Located in Firenze, FI
Pharmacy albarello made of majolica, with a particular spool shape. The predominant glaze of the ceramic is white, on which there are decorations in blue and yellow. These decoration...
Category
18th Century Italian Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Labor Deruta teapot with Raphaelesque decoration
By Deruta
Located in Lugo, IT
Labor Deruta teapot with Raphaelesque decoration.
Two defects in the lid.
Thanks
Category
1980s Italian Vintage Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Late 19th Century South Italian Antique Majolica Two Shelves with Vase
Located in Casale Monferrato, IT
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...
Category
1880s Italian Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Large Majolica Dish France Rouen Manufactory of Jean-Baptiste Guillibaud, 1730
Located in Puglia, Puglia
Big dish.
France, Rouen, Manufactory of Jean-Baptiste Guillibaud, around 1730.
Majolica. Brand: "Gb" linked in italics, in blue.
Diameter 44 cm. Conservation: flaking recomposed in o...
Category
1730s French Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
17th Century Italian Deruta Maiolica Salt
Located in Basildon, GB
17th Century Italian Deruta Maiolica Salt, probably made in Caltagirone in Sicily, the central circular dish within four scroll dishes supported by a Sphinxes and lions on on a cross...
Category
Late 17th Century Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Five hand-painted and glazed majolica dishes. Central Italy. Nineteenth Century
Located in Torino, IT
Five dishes
hand-painted majolica
and glazed. Manifattura
central Italy.
ORIGIN
Central Italy
PERIOD
Nineteenth Century
MATERIALS
Hand-painted majolica
and glazed
DIMENSIONS
The ...
Category
19th Century Italian Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Two Small Italian Dishes Antonio Maria Coppellotti Manufacture, Lodi, Circa 1740
By Antonio Maria Coppellotti
Located in Milano, IT
Two small dishes
Antonio Maria Coppellotti Manufacture
Lodi, Circa 1740
High fire polychrome majolica
They measure: diameter 7.08 in(18 cm)
Weight: 0.37 lb (170 g)
State of conservat...
Category
1740s Italian Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Teruel (Aragon) - Spanish Maiolica Mortar, 17th century
Located in DELFT, NL
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-...
Category
17th Century Spanish Baroque Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Ancient Maiolica Flower Pot Pasquale Rubati Factory, Milan Circa 1770
Located in Milano, IT
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...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
Maiolica flower pot "a mezzaluna," Pasquale Rubati Factory, Milan, circa 1770
Located in Milano, IT
Majolica flower pot "crescent" decorated in manganese
Pasquale Rubati Factory
Milan, c. 1770
4.92 in x 8.66 in x 5,31 in
12.5 cm x 22 cm X 13.5 cm
Weight: 2.29 lb (1039 g)
State of conservation: intact with slight chipping due to use in relief parts
A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...
Category
1770s Italian Rococo Antique Maiolica Serveware, Ceramics, Silver and Glass
Materials
Maiolica
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