Maiolica Furniture

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...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

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...

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 ...

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...

Assortment of bottle and glass coolers in Maiolica. Pasquale Rubati manufacture Milan, circa 1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire) a - Bottle cooler 5.91 in x 5.91 in diameter (15 x 15 cm ) Weight: 1.86 lb (845 g) b - Bottle cooler 6.89 x 7.87 in diameter (17,5 x 20 cm) Weight: 2.09 lb (948 g) c - Pair of glass-cooler vases 3.94 x 3.94 in diameter (10 x 10 cm) Weight: 1.43 lb (650 g) Good state of conservation: a - some chipping from use on the edge; a - two fêlures covered on the edge; c - one has deep chippings on the edge and the other a subtle fêlure. Two Majolica factories were active in Milan in the 18th century. The first, starting from 1745, was owned by Felice Clerici; the other one by Pasquale Rubati from 1756. Rubati was in competition with Felice, whose worker he had been prior to opening his own workshop. On his death in 1796, the business was continued for a few more years by his son Carlo. Recent studies have recognized Pasquale Rubati's contribution as the creator of "Strasbourg-style" decorations with their particularly joyful depictions. This style had previously been attributed to the Lodi manufacturers. These works here, however, are a clear example of this production. The Majolica containers have different sizes, a cylindrical shape and rest on a low foot ring. The two largest are completed by handles in the shape of a zoomorphic mask with wide open jaws, while the smaller ones have handles applied with an anthropomorphic mask. All the works are characterized by elegant floral decoration. The two twin glass coolers show bunches of flowers centered around a main corolla, a rose or a peony paired...

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 ...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

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 ...

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

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

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 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 ...

Pair of polychrome majolica amphorae with grotesque motifs. Reserves on both sides decorated with allegorical-mythological motifs. The highly inset side handles are supported by wing...

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...

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...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

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...

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 ...

Beautiful, large bowl designed by Aldo Londi for Bitossi, for which he was art director, in the early 1950s. It is molded with refractory earth in shades of brown with a rather rare ...

Questa bellissima coppia di specchierine in maiolica furono realizzate in Veneto nel XVIII secolo. Hanno cornice sagomata in maiolica bianca con fiori arricchiti da dorature. Alla b...

This figure of a monkey sitting on a basket of fruit is a wonderful example of Josef Wackerle´s sculpting skills. The character of the monkey, sitting and ready to throw the fruit, i...

Italian Maiolica Pitcher with a Rampant Lion, Central Italy , Ca 1850 This unmarked Maiolica Pitcher with a cream white background is decorated on the front with a cobalt blue rampa...

The Apollineo collection merge classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and v...

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...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and vibes. Sun-blessed pure volumes, shapes mar...

Beautiful long ceiling lamp in brass with two magnificent pieces of Italian maiolica ceramics in gold, cream, and green hues. One ceramic piece is pa...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and vibes. Sun-blessed pure volumes, shapes mar...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and vibes. Sun-blessed pure volumes, shapes mar...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and v...

The Apollineo collection mergs classical and contemporary elements to define a unique aesthetic inspired by Mediterranean architecture and v...