16th Century Serveware, Ceramics, Silver and Glass

A very nice Ko-Kutani serving dish in red enamel with a central scene of a Foo dog or Lion. The ground has ajour decoration. Early piece. Additional information: Material: Porcelain...

A charming Italian Ceramic Olive Jar with a mossy green and burnt ochre yellow glaze. Angelic faces with wings are carved on the handles. Felt on the bottom. Side holes included that...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

Early Arista / border tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575. Catalogue: La Azulejería Toledana a Través ...

Inspired by the fashionable Parisian glass conservatories that housed exotic and tropical gardens, sculptures, fountains, grottos and the most splendid brunch and dinner parties. One of our most treasured and popular designs, L’Orangerie in deep red compliments any style space year round and is perfection for serving brunch, dinner parties or for decor. Like all of our verre eglomise trays...

"The Boar Hunt." Embossed, pierced, engraved and silvered copper riser Resting on the ground by means of a turned base of a truncated-conical shape that narrows upward, it has the ...

Dated 1705 (1121 A.H.). A romantic and poetic scene of two lovers with musical instruments. The main scene includes flowers, animals, and the calligraphy that says "The heart goes [f...

A bowl made around the 16th century in Vietnam. In Japan, trade with Vietnam has been active since the Muromachi period (around the 16th century). Many Vietnamese bowls have also bee...

Majestic and Large Chinese Ming period Swatow Charger with beautiful scene of a landscape with pagodes and Fenghuang/Phoenixes. The stand is not included. Additional information: Ma...

Peut-être 15e-17e s. objet de fouille du Niger (Afrique), belle engobe en argile rouge avec bandes incisées, col haut se terminant par une lèvre évasée, bel exemplaire. Bel objet décoratif...

A Ming Cizhou jar, 16th.Century Pottery with floral motifs.

Fine Chinese pottery with decorations, 15 / 16th century.

Pair of Ming Dynasty Bowls with Pattern of Interlocking Hexagons, Wanli period (1572-1620). This handsome pair of bowls with a slightly fluted rim features an outer pattern of hexago...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

16th century Spanish Bronze Mortar with Letters M on the Sides

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

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...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The flared trumpet bowl set on...

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The large cylindrical straight-side...

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...

Catavinos or scrapie. Silver in its color. Spain, 16th Century. With contrast marks, illegible. Cup without foot or handles, in silver in its color and with a circular base, flar...

Louis XIV combined retractable silver spoon with two tine fork, 1592. Very rare French Louis XIV combined retractable silver spoon with two tine fork 1592, traveling utensil. We are proud to offer this exceptional and unusual museum piece to the market. This rare traveling utensil set consists of a combined spoon and retractable fork from the 16th century. It was introduced by Catherine de Medici who brought them from Italy to France in 1553, upon her marriage to the future king, Henry II. Up to this time forks had only two tine. In the late 17th century forks became three pronged. A combined silver flatware set was a personal item, carried by wealthy owners when dining out. Once sacrilegious and controversial, fork and spoon are among the most important inventions in the history of Western culture. In 1633 King Charles I of England declared them, “decent to use” and so the fork, slowly but surely, gained acceptance at the table. This beautiful solid silver piece has a figural finial and a small seal similar to the Apostle spoons...

An extraordinary azure maiolica dish in the Farnese service, made by Castelli d'Abuzzo between 1580 and 1589. In the peak of the High Renaissance, Cardinal Alessandro Farnese commissioned a dinner service from the Castelli maiolica...

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...

16th century Spanish Valencian Manises lusterware plate combining ceramics with metallic glaze. It has been repaired with iron grapples.

An exceptional, fine and impressive, rare antique Elizabethan English sterling silver communion chalice and paten; an addition to our diverse religious silverware collection. This exceptional two piece antique Elizabethan sterling silver communion set consists of a chalice and paten/diskos. The chalice has a cylindrical tapering shaped form onto a plain knapped pedestal and spreading circular foot. The body of this sterling silver communion cup...

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...

Antique Negoro lacquer wares were produced at the Negoro-ji temple complex in Izumi Province. The red layers of lacquer on Negoro wares are intended to ...

A very rare antique French, Bernard Palissy or School of Bernard Palissy attributed majolica figural plaque with classical figures moulded in relief. The lightly potted earthenware p...

Also known as "catavinos", this type of drinking cups were used on special occasions (ceremonies ...), hence their material and the decoration they have, and were very common during the reign of the Habsburgs in Spain. Although they were objects of civil use, it was not strange that they were donated or ordered for their use in churches or in liturgical areas. Both the decoration and the shape of the cup show the origin of the same artistic core away from the main silversmith centers. Compare, for example, with the "bernegal" with handles in the form of cartons from the Museo del Prado in Madrid (catalog O00085) made in the late 16th century, which presents the upper part carved in concave double gallons and shows vegetable prints...

This exceptionally rare silver-gilt mounted tigerware jug was crafted during the Elizabethan period. This handsome vessel is adorned with highly elaborate silver-gilt mounts, includi...