Maiolica Furniture

This handbuilt ceramic compote vessel by Ilona Golovina is a poetic meditation on surface tension, time, and subtle transformation. Raised on a cylindrical foot, the bowl’s minimalis...

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter l...

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:...

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...

Small and lovely Italian Holy Water font from Italy, a shaped polychrome ceramic artwork dating back to Neoclassical period, early 19th century. This rare religious work is finely ...

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...

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...

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...

Column with majolica vase with grotesque decorations in shades of yellow, ochre, green, light blue on cobalt blue background. The vase has two side handles in the shape of masks and ...

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...

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...

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...

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...

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...

Handcrafted and hand carved relief images on majolica tiles. Hand glazed. We can craft the image of your choice or you can select from our portfolio. The tiles are 18,5 x 18.5 x 8 mm...

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...

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...

This handcrafted majolica figure is perfect for your interior or garden. The material is frost resistant and does not fade in sunlight. The tropical flair makes it a perfect complime...

18th century Italian collectible antique painted majolica bowl, a large basin-shaped centerpiece, with vertical ribs, decorated with polychrome flowers. Small chips, felure and minor...

Santucci Deruta Oil and Vinegar Majolica with Raphaelesque decoration. Good condition. Thanks

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...

Labor Deruta teapot with Raphaelesque decoration. Two defects in the lid. Thanks

An Abruzzo maiolica 'albarelli' in good condition. White tin glaze, waisted cylindrical form decorated in blue, with a classical figure of a putto surrounded by trees and flowers. ...

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...

Oil lume with a cuollomozzo on a circular base with a raised edge. Cylindrical stem with a thickening and a constriction that supports the oil container. Two handles, one of which is...

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...

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

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 ...

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

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...

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...

Centerpiece light blue maiolica shell Ferniani factory, early period: 1693-1776 Faenza, 1700 circa 5.5 in x 14.72 in x 13.77 in (14 cm x 37.4 cm X cm 35) lb 4.40 (kg 2) State of con...

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...

Five dishes hand-painted majolica and glazed. Manifattura central Italy. ORIGIN Central Italy PERIOD Nineteenth Century MATERIALS Hand-painted majolica and glazed DIMENSIONS The ...

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...

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...

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-...

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...

Extraordinary multi colored and multi faceted majolica pitcher made by San Polo Venezia, designed by Otello Rosa. Signed and numbered on the bottom.

The Giustiniani family was one of the most important in ceramic production in Naples, particularly from the 17th to the 19th century. The Giustiniani manufactory is famous for its "r...

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...

Relief majolica ceramic in the style of Giovanni De Maio 45 available. Good condition. Thanks

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.

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...

Splendid polychrome majolica plaque, attributable to the renowned Castelli factory, located in Abruzzo (Central Italy), and dating back to around the end of the 17th century. The pla...

Echoing the silhouette of a celestial arc, Half Moon Jug by Ilona Golovina is a sculptural ceramic vessel that merges ancient symbolism with contemporary restraint. Handbuilt with a ...

Delicate yet grounded, this hand built ceramic compote vessel by New York-based artist Ilona Golovina resembles an artifact unearthed from volcanic soil. Its petite, chalice-like for...

Castelli manufacture polychrome majolica parade plate with a scene historiated with mythological subjects Diana and Endymion.

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) ...

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 ...

Maiolica flower pot “a mezzaluna” with support feet decorated with little bunches of flowers Pasquale Rubati Factory Milan, circa 1770 5.5 in X ...

Enrico Mazzolani female figure, Italy, 1930s.

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...

Majolica Bowl hand-painted CIMA Perugia. ORIGIN Italy PERIOD Anni 80 MARK CIMA Perugia MATERIALS Maiolica smaltata and hand-painted DIMENSIONS Height: 9 cm Ø 20 cm CONDITIONS P...

Vaso della serie Pleiadi di Marta Servadei. Realizzato in argilla liquida fusa sottoposta a tre fai di cottura. Decorato da scintillanti strisce sottili di maiolica smaltata di bia...

This truly magical Italian sea life maiolica wall mounted lantern depicts relief of sea creatures and vivid colors. One single bulb provides ample illumination - this can be used as ...

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...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

Crafted by hand, this one-of-a-kind compote vessel by Ilona Golovina exemplifies her ongoing exploration of contrast—between surface and depth, rawness and refinement, ancient and mo...

This handbuilt footed compote vessel by Ilona Golovina is a striking fusion of elemental texture and sculptural refinement. Elevated on a cylindrical base, the bowl’s organic form an...