Ceramics in Milan

The atmosphere and the world of Lisa Corti interpreted by Laboratorio Paravicini. The new collection of dishes combines the two brands for a table that makes the imagination travel b...

This exquisite set of 12 dinner plates is a celebration of Paravicini's masterful craftsmanship and sophistication and the splendor of nature rendered in the magnificent colors. A precious addition to any home, each plate is crafted and painted by hand depicting a different variety of flowers. Best paired with clear glassware...

“La Canzone” polychrome ceramic tile, designed by Giò Ponti for Richard Ginori - San Cristoforo, Milan 1930s. This tile is a tangible ode to an age when the world was captivated by ...

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

This set of three anthropomorphic ceramic mugs belongs to an exclusive series that ceramist Patrizia Italiano dedicated to the authentic, chaotic cha...

Every plate from this exquisite set is entirely crafted and painted exclusively by hand in the tradition and quality that have made Paravicini famous all over the world. Made of fine...

Gio Ponti two 'Vendemmia' series tiles in frames for Richard Ginori, Italy, 1920s Fully marked.   

Set of five large apothecary-herbalist jars in white ceramic with cobalt blue decorations, to contain Mallow, Lobelia, Vervain, Rue, Burdock of neoclassical taste. The handle of the ...

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

Splendid ceramic vase signed Umberto Zannoni Faenza of fine Italian manufacture Zirardini in the 1950s. Signed, Original Label. The marvellous vase has a round base from which the b...

Ceramic Lenci..." Our Lady of Peace"

This 19th-century French confit pot showcases the rustic charm of Provincial stoneware, featuring a beautiful yellow glaze typical of the region. Used historically for preserving mea...

Made in Italy, 1970s. This ashtray / catchall is made in glazed ceramic by Gabbianelli and features its logo on the bottom. It may show slight traces of use since it's vintage, but...

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

Exceptional pair of cats ceramic 1940, Italy, Tosin.

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...

Polychrome hand-decorated porcelain teapot, milk jug and sugar bowl with refined depictions of birds, flowers, and bucolic Japanese landscapes....

Björn Wiinblad Face Vase for Rosenthal Studio Linie 1970s

Pair of plates in Ceramica BUSCAROLI Bologna 20's. Strong connotation deriving from the property of the moment of Emiliani. Persian palmette decorations with variations of various ki...

1980s Gorgeous Green and Yellow Tea Set/Coffee Set in Ceramic by Naj Oleari. Made in Italy. The items are in excellent condition - 1 Coffee/Tea pot 9,05" x 5,51" x 5,90 H" inches - ...

The typical Italian landscapes and views characterize this elegant dessert set of 6 pieces with fancy red and blue tones. Each dish measures 22.5 cm and is 100% made in Italy by mast...

Marcello Fantoni Unusual Modernist Ceramic Wall Plate, Italy 1950s

Large Carraresi e Lucchesi, Sesto Fiorentino Italian Art Deco decorative plate, 1930s.

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting colors and modern flair. Made of Capodimonte porcelain with a glossy, white finish, this sculpture is shaped like a hand, decorated with elements from ancient tarot cards.

Andrea D'Arienzo ceramic vase, Vietri, Italy 1950s.

Italy, 1950s. Made in airbrushed ceramic. They are vintage pieces, therefore they might show slight traces of use, but they can be considered as in excellent original condition and ...

1950s gorgeous white, blue and gold tea set/coffee set in Bavaria Porcelain. Made in Germany. The items are in excellent condition. - 1 Coffee...

Monumental Italian 1940s Gold on Green Painted Terracotta Vase

Made in Germany, 1930s. This high-quality two-arm candle holder is made in white and gold glazed porcelain by Karl Tutter for Hutschenreuther. It is. vintage piece, therefore it m...

Piero Fornasetti set of eight Monkeys ceramic coasters, From the "Ne sont tous chevaliers qui sur cheval montent" series Italy 1950s Original box.

San Polo Venezia small ceramic feeding bird chicks sculpture. Italy 1950s Fully signed

Italian Mid-Century Art Pottery Bird Sculpture Box by Aldo Londi for Bitossi

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...

Guido Cacciapuoti.

This striking vase has a simple, rectangular shape, highlighted with a brass strip at the bottom and two different solid finishes, one large strip in pink and a vivid red top. The pi...

This striking vase in white clay has a simple cylindrical shape with a white finish, and a central area decorated with a series of multicolored rings...

Set of five large apothecary-herbalist jars in white ceramic with cobalt blue writing, to contain Dioica, Nettle (Urtica Dioica), Aromatic Calamus (Acorus calamus), Raspberry (Rubus ...

Plate in ceramic with tulips in reliefs. This piece can be use for food or as a centerpiece.

Richard Manz Pair of Ceramic Bowls, Denmark 1970s Signed Richard Manz / Made in Denmark

Antonio Marras Ceramic vase - collectible handmade vase - rare Italian ceramic This big hand-painted ceramic vase is a wonderful piece unique created by Italian stylist and artist A...

An immense glazed ceramic vase in beautiful variations of greens, white, yellow and black dripping paint effect. Signed M.A.B Treviso Measurement H = 98 centimeters

This antique French Provincial Tian bowl, circa early 19th century, boasts a beautiful time-worn patina and a light yellow glaze. Discovered in Provence, France, this earthenware bow...

Made in Italy, 1940s - 1950s. This blue lacquered ceramic vase by Laveno, Italy. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in...

Large painted Art Nouveau bronze vase from the early 1900s, fine Italian manufacture. The vase has a round base with four thick, sinuous feet, reminiscent of those on old stoves...

Sublime Nanni Valentini large bowl for Ceramica Arcore Signed CA.

Essevi “Sandro Vacchetti “ ceramic, 1940, Italy.

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

Angelo Mangiarotti Rare Three piece vase for Fratelli Brambilla, Italy 1970s Ref: Domus July 1970.

This stunning mid-century French faience woven ceramic fruit bowl, crafted by Pichon à Uzes in the 1960s, features an earthy yellow hue and intricate braided design, typical of the r...

Set of 4 small jars with lid for pharmacy-herbalist's shop in white ceramic with cobalt blue inscriptions, to contain Juniper, Willow, Gentian, Brown seaweed of neoclassical taste wi...

Rare Sirio Tofanari Art Deco Ceramic Monkey for SCI Laveno, Italy 1930s Fully marked.

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) ...

Made in Italy by Giovanni Bertoncello, 1970s. It is made in brown and orange hand-glazed ceramic. This vase is signed on the bottom. It is a vintage piece, therefore it might show s...

This elegant centerpiece in white clay features a base in dark grey supporting a conic body made of concentric steps that are finished in red on the outside and in vivid matte green ...

Basilico is one of the teapots from the "The Indian Memory" collection designed by Ettore Sottsass in 1987 and now re-edited by Alessio Sarri. All the pieces in the collection are s...

Made in Italy, 1960s - 1970s. This is a teal hand -modeled, - glazed, - painted ceramic moneybox by Fanciullacci. Its "Italy" writing is typical of their production. It is a vinta...

Futurist Torido Mazzotti monumental vase for M.G.A, Albisola, 1955.

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...

Made in Italy, 1950s. This glazed ceramic piece is made by Giovanni Girardi, a famous ceramic artisan from Vicenza that worked for Lenci in Turin. It...

Incredibly stunning large Art Deco woman figure signed by Cia Manna, Torino, Italy, 1950s. Semi nude form of a young woman. It is made in painted and glazed ...