Ceramics in Milan

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...

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 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...

Ceramic Lenci..." Our Lady of Peace"

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

“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 ...

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...

Lenci Madonna che prega ceramic, 1930, Italy.

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

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

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 ...

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 ...

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

Tazzina da caffè in porcellana di Meissen dipinta con scene classiche, realizzata nel XIX Secolo Piatto: Ø cm 14 La porcellana di Meissen è considerata uno dei primi e più pregiati...

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...

Memphis Milano painted ceramic vase, Hsing by Ettore Sottsass, red star-shaped. Memphis Group, an Italian design and architecture collective founded by Ettore Sottsass, active betwee...

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 Marcello Fantoni Unusual Modernist Flowers Ceramic Wall Plate, Italy 1950s

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...

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...

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

PIETRO MELANDRI - Cavallino in ceramica, smalto opaco color marrone con tenui sfumature d’oro e foglie in rilievo smalto a lustro. Firmato sotto la base - MELANDRI . Questa scultura ...

Cherry 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 signe...

Black ceramic sculpture "woman" mid-20th century.

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...

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 - ...

N 5 Vases Richard Ginori Gio Ponti Vase Holder

Beautiful Italian vase mid-century, modern green and brown Glazed ceramic amphora, 1960s. Brown and green glazed ceramic amphora. This vase is from 1960 period and is conserved very ...

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...

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) ...

Sublime Nanni Valentini large bowl for Ceramica Arcore Signed CA.

Vase Ceramica Della Richard Ginori. Model John Gariboldi

Made in Italy, 1940s. This brass and glazed ceramic piece is made by Arturo Pannunzio. It is a vintage piece, therefore it might show slight traces of use, but it can be considered a...

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

Mid-Century Modern - Hand-painted Ceramic Vase - Collectible Design Elegant and timeless Mid-Century Modern vase in Ceramic, handmade and hand-painted. This postmodern vase, whose s...

Fratelli Brambilla coffee set in white ceramic, Italy 1965 Impressed stamp.

Maiolica centerpiece Pasquale Antonibon factory Nove di Bassano, Venice, 1740-1770. Measures: 1.85 in x 19.21 in x 15.27 in 4.7 cm X 48.8 cm X 38.8 cm. lb 5.29 (kg 2.4) State of conservation: thin passing fêlure with covered chipping and a glued foot The Antonibon were an important family of Venetian...

This large-scale figure of a horse head was produced in Italy and dates to the 80s. The white glaze gives this piece a modern look and captures the elegance and beauty of the horse....

A sophisticated ivory glaze - non-toxic and lead-free - envelops this clean-lined set of 4 espresso cups and its coordinated saucers, both fashioned of black stoneware and deftly cra...

Deruta (Perugia), Italy 1983. This is a hand-painted earthenware donkey that can be used as a table salt cellar or just as a decorative object. It is a vintage piece, therefore it m...

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...

Björn Wiinblad Face Vase for Rosenthal Studio Linie 1970s

1970s gorgeous brown coffee set in Faenza Ceramic. Handmade Made in Italy. The items are in excellent condition. - 1 Coffee pot 5,11" x 3,14" x 6,69 H" inches - cm 13 x cm 8 x cm 17...

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

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...

Curious group of five Italian ceramics, bright and cheerful orange and of different shapes and sizes that make up a single spiral centerpiece. On the bottom, all of them are covered ...

Violet and orange meet in this exquisite dish and are separated by a band of vivid gold. This elegant and modern design will add a touch of color and sophistication to any dining tab...

Two maiolica flower pots Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire) The...

Painted ceramic sculpture depicting an English Setter dog in a sitting position. England circa 1950.

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...

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 and features a lower section decorated with horses, inspired by Italian horse race that takes place in Siena, a small medieval town...

Lenci “Avvocatino” ceramic, 1930, Italy.

This Antique French Provincial Tian bowl, dating back to the early 19th century and found in Provence, France, showcases a beautiful light yellow glaze with ...

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...

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...

Richard Ginori Gio Ponti Vase Holder

Franco Bucci Vase for Laboratorio Pesaro, Italy, 1970s. Fully marked.

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...