Maiolica Furniture

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...

19th century Large Maiolica Tin-Glazed Wall Plate with Frolicking Cherubim Probably Cantagalli family workshop Florence, Italy; 19th century Tin-glazed baked clay Approximate size:...

Imposing antique vase in Italian majolica, Mid-19th century. With very fine hand painted classic scenes and grotesque faces embossed to the sides on each handle. Similar vases are ke...

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 ...

Alhambra vase by La Ceramo, Valencia desde 1889. Early 20th century Hispano-Moresque lusterware vase The model of this vase is an 20th century produc...

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...

Bamboo Plant Stand Product details From the residence of Antonello Falqui – Falqui Collection. Quadrangular top inlaid with majolica. Dimensions 25 W x 76 H x 25 D cm

Italian Polychrome Majolica Wall Tile, of Venetian area Painted With Landscape 1750 Circa, of oval shape with frame, a cymatium formed by flowers and racemes surmounted by a shell. ...

An impressive 18th century polychrome decorated drug jar or 'Albarello'. The Albarello is of a typical waisted shape, and is decorated profusely in polychrome. The body of the jar is...

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...

Large tin-glazed earthenware lebrillo/ basin, form Triana, Seville, Spain 19th century Central design of a dog within in colorful background in yellow, turquoise, manganese and blue.

Italian Large Majolica Terracotta Sculpture with Lustre by Adolfo Merlone, 1950s Majolica terracotta sculpture decorated with lustre glazes in shades of red, blue and yellow depicti...

Early 20th century Italian majolica urn. This gorgeous Italian majolica or maiolica urn or jardiniere is hand decorated with serpents, dolphins an...

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...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. I have four of them available, please reach o...

Enrico Mazzolani ceramic female figure, Italy, 1930s.

Spanish Faience charger with floral motifs. Talavera de la Reina-Puente del Arzobispo, Toledo. Spain, late 17th century. Hand painted in ochre, yellow, brown and blue with a central...

Design Period 1955 to 1965 Production Period around 1960 Country of Manufacture Italy Gubbio Umbria (Provincia di Perugia) MARKED: by artist C.A.F.F. Gubbio :-:very good condi...

An Italian maiolica berrettino-ground riser from 18th century, central Italy, probably Faenza origin. In the central part of the riser a ruined tower is painted within a mountain lan...

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...

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 ...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

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...

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

Vivid colors, hand-painted in the Renaissance style, enhance this large maiolica pot from the 1800’s. Maiolica is tin-glazed pottery from Italy that has been decorated over a white background. This pot is considered an istoriato, which is to say that the pot has been decorated with figures, rather than strictly geometric patterns or floral designs. The maiolica does incorporate floral and foliate motifs, with white flowers that have yellow centers surrounded by blue rings. There are also yellow flowers that are depicted in various stages of nyctinasty (the closing of flowers during the night). The flora is all connected by a series of green and yellow curled leaves. Behind the vegetation is a dark blue background. There are two portraits inside large yellow cartouches that are painted in the middle of the pot. The first is a bearded man, dressed in a light brown tunic...

Four Villeroy & Boch majolica plates Good condition Thank you

A stunning and rare antique Italian Maiolica pottery triple gourd vase hand-painted with classical stylised figurative and scroll designs in typical ...

A large pair of antique Renaissance Revival Italian maiolica (majolica) pottery wall pockets or planters, circa 1890, possibly Deruta. An unusual pair of large antique Italian maioli...

Majolica apothecary jug. Savona manufacture, second half 17th century. In monochrome majolica, ovoid body with a high cylindrical neck that opens into a large mouth with an everted...

Set of 4 early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. condition: 3 are in very good conditi...

Early 19th century Neoclassical carved and gilded wall brackets realized with a white ivory color majolica demi vase of the Italian manufacture Gi...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

Rare and large Palissy Majolica vase, France, circa 1880. Made on a circular base, the baluster vase with a marbled brown bottom rests. The neck and foot feature motifs inspired by ...

Beautiful Massimo Popper Plate, 1911/1914, 20th Century Pompous polychrome ceramic "Marguerite" with a wide brim, short frill, and wide base. The rim is decorated with metopes and t...

Cup, vase, two-handled (with two side handles). Manufactured in Pesaro, Italy, 1920. Made of polychrome artistic majolica, decorated with leaves and birds. The two side handles are e...

AN ENGLISH MAJOLICA PEDESTAL IN EGYPTIAN TASTE by JAMES WARDLE & CO. Circa 1880 Modeled with winged lions at each corner enclosing a stylized Egyptian ornament. Moulded laurel wreat...

Italian antique vase with lid in blue and white majolica, 1715 Vase with lid with round base in blue and white majolica. On one side of the vas...

A French 18th century large polychrome Faience lidded soup toureen or entree dish with scallop-shaped edges attributable to Rouen manufacture. This lovely...

This is a truly magical Italian maiolica wall mounted lantern depicts flowers and vivid red corals. One single bulb provides ample illumination - this can be used as shown, wall mou...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

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...

Beautiful and fine pair of white Maiolica mirrors with elegant multi-color flowers drawings, in Baroque Style, handmade in Bassano by the well known Manufacturer Antonibon, coming fr...

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...

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) ...

AMAZING PLATE MONTELUPO 17th Century Round earthenware bowl with contours on a pedestal, polychrome decoration of a soldier in a frame of floral reserves. Minor restorations. Diame...

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...

Beautiful vertically painted majolica plaque, attributable to the famous Castelli factory, located in Abruzzo (Central Italy), dating back to the first half of the 18th century. The ...

Important Plate Fratelli Minardi Faenza 1920 Lady's profile, a polychrome ceramic plate with a wide rim and a deep recess, with a ring-shaped support on the back, on a recessed back...

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 ...

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...

Coppia Di Piatti In Maiolica italiana XVIII secolo Con Decoro Al Garofano Manifattura Ferniani Faenza dipinti in policromia, nei toni del blu, bruno, giallo, rosso, arancio e verde. ...

English Victorian large blue Majolica porcelain jardiniere of nautilus shell shape raised on a leafy form pedestal base (signed MINTON, 1873)

Two pot mustard set Felice Clerici or Pasquale Rubati Factory Milan, 1745-1788 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures: 3.94 in in height x...

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...

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...

Splendid polychrome majolica plate belonging to the Montelupo ceramic workshop. The enamel has also been applied to the rim, in an elegant aqua green, while the background is white d...

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...

Centerpiece white maiolica shell Ferniani factory, early period: 1693-1776 Faenza, circa 1700 Measures: 5.6 in x 14.72 in x 13.46 in (14.3 cm x 37.4...

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...