Maiolica Furniture

A Montelupo Maiolica dish featuring an Arlecchino decor in the shades of ochre, yellow, blue, green, and black. The shallow, circular form is decora...

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...

Hispano-Moresque Lustreware Charger with a “Pardalot” Bird Manises, late 17th or early 18th century Tin-glazed earthenware, decorated in copper lustre with a large central bird surr...

Hispano-Moresque Lustreware Charger with a Pardalot Bird Manises, late 17th or early 18th century This Spanish lustreware charger is decorated in warm copper tones with a stylised p...

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) ...

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 ...

Italian Ceramic Bird Bath, with hand-painted butterfly and floral motifs, marked "Deruta M.W.D. / Delia" to base. 30.5" H x 26.5" Diameter. Prov...

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.

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...

17th Century pair of Abruzzo Maiolica Albarelli lamps. Converted from a very fine and rare pair of waisted cylindrical form Italian maiolica albarelli from the Abruzzo region, decor...

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....

An 18th century French faience plate from Nevers, dating to the 1790s. The plate is decorated in polychrome with a bird perched on flowering branches, rendered in a chinoiserie manne...

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

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...

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...

Hispano-Moresque Lustreware Charger with a “Pardalot” Bird Manises, late 17th or early 18th century Tin-glazed earthenware, decorated in copper lustre with a large central bird surr...

18th-century Marseille faience plate, France, circa 1770. The plate is hand-painted in polychrome enamels with scattered floral sprays and leafy branches, a decoration closely associ...

18th-century set of two Montpellier faience plates, France, circa 1770. The tin-glazed earthenware plates are hand-painted in polychrome enamels with a structured floral composition...

This is an antique Italian ceramic jug, likely from the Montelupo Fiorentino factory, dating to around the late 19th century with the coat-of-arms of the Medici Grand Dukes flanked b...

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 ...

A fine 18th-century French faience plate from Moustiers, hand-painted in a vibrant polychrome palette. The center is decorated with four elegant bouquets of stylized flowers in manga...

An 18th century Italian maiolica plate, attributed to the Antonibon manufactory in Nove di Bassano. The plate is shaped with a finely moulded. Painted with flowering plants issuing f...

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...

Richard Ginori tea set for 12, decoration attributed to Gio Ponti. A small defect on the rim of one saucer. Good condition. Thank you.

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...

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 ...

Late 18th C English Mahogany Chest on Chest. Late Georgian period Circa 1800. Solid, figured, Honduran mahogany. Mostly original hardware and original bracket feet and back boards. ...

Pair of round dishes and a small oval tray Antonio Maria Coppellotti factory Lodi, circa 1745 High fire polychrome majolica Dishes size: diameter 9.44 in, height 0.78 in (24 cm, 2 c...

Judy Ledgerwood – Artist Original Majolica Tile Bench Artist original bench featuring hand-painted majolica tiles by Judy Ledgerwood, conceived as a functi...

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...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

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

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...

Two 19th-century Italian Gilded Antique Shelves centered by 1700s Majolica, small shaped shelves in carved and gilded wood, made from a polychrome majolica lid divided into two parts...

A charming pair of hand-painted Italian maiolica wall plates, dating to circa the 1930s. Each plate features a lively animal scene: a leaping deer on one and a hare on the other, set...

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

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...

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...

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...

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...

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 ...

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

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 ...

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...

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...

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...

We present this stunning large vase, made in Faenza, Italy, dating back to the 1950s. The vase is crafted from polychrome glazed ceramic. The eye-catching, classically painted decora...

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...

17th Century pair of Abruzzo Maiolica Albarelli Waisted cylindrical form decorated with classical figures. White tin glaze with blue decoration. Dimensions: 29 x 12 cm.

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...

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...

Four Villeroy & Boch majolica plates Good condition Thank you

Cantagalli Maiolica Plate with Heraldic Emblem Cantagalli Factory, Florence, Late 19th Century Tin-glazed earthenware (maiolica); polychrome decoration This large maiolica plate was...

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...

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 ...

Maiolica flower pots “a mezzaluna” Samson & Fils Factory Montreuil-sous-Bois, France, late 19th century They measure 4.72 in in height x 8.66 x 5.03 (12 cm x 22 x 12,8) Weight: 1.88...

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 ...

Maiolica flower pot “a mezzaluna” decorated with garlands of flowers Pasquale Rubati Factory Milan, circa 1770 Measures: 4.7 in x 5 in x 8.8 in ...

Pot of Majolica 1930, signed Ginori model 1208-3130, accompanied by an authentic archives Gio' Ponti.

GIO PONTI -VASE of Majolica 1930, signed Ginori model 3130, accompanied by the authentic certiate from Gio' Ponti Archives.