Ceramics in Milan

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

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

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...

Made in Venice, Italy, 1950s. This is a ceramic plate pyriform glazed by Otello Rosa for San Polo, Venezia, depicting two cats. This panel is vintage, therefore it might show slight...

Cinnamon 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...

Spectacular Nanni Valentini large wall plate for Ceramica Arcore Signed CA.

Fornasetti.

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

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...

A rare plate painted by Aligi Sassu. Signed and dated

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

Ivanhoè Gambini Pair of Futurism wall masks, Italy 1940s.  

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 ...

Monumental Vittoria Mazzotti, Albisola iridescent vase. Signed V. Mazzotti, Albisola.

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 ...

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...

Monumental Italian 1940s Gold on Green Painted Terracotta Vase

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

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...

Lapislazzuli 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 a...

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

Made in Italy by Giovanni Bertoncello for Schiavon, 1970s. It is made in brown glazed ceramic. It is a vintage piece, therefore it might show slight traces of use, but it can be cons...

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....

Made in Italy, 1950s. They are in in lacquered ceramic. These could be by Antonia Campi or Gio Ponti. These are vintage pieces, therefore they might show slight traces of use, but t...

Artist Amedeo Fiorese yellow sprayed ceramic flower vase sculpture, Italy 1970s.   

Goldsheider “Levrieri” Ceramic 1950 Italy

Made in Italy, 1950s. This wonderful piece is made with 25 white glazed ceramic amphoras. It is a vintage piece, therefore it might show slight traces of use, but it can be consider...

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...

Richard Ginori Giovanni Gariboldi vase ceramic, 1950, Italy.

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

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...

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...

Five oval maiolica dishes with pierced edge Manufacture of Pasquale Rubati Milan, 1770-1780 Three small oval dishes 10.23 in x 7.67 in (26 cm x 19.5 cm) Two large oval dishes 10.82 in x 8.85 in (27.5 x 22.5 cm) lb 3.5 (kg 1.8) State of conservation: intact The five dishes of different sizes have an oval shape, a mixtilinear edge and a molded polylobed shape with a surface enriched with a relief weave motif extending to the brim and forming a perforated basket...

This is a Rimini blue vase from the 1970s. Made in Italy. It was designed by Aldo Londi and produced by Flavia Montelupo, also known as Bitossi. Bitos...

Made in Italy, 1950s. This wonderful piece is made in black lacquered ceramic with multicolored holes. It is a vintage piece, therefore it might show slight traces of use, but it ca...

Precious Italian vase from the 1950s made by the great silversmith Arrigo Finzi. The vase is made in fine porcelain. Its great elegance and preciousness is given by its working in pu...

Made in Italy, 1950s. This wonderful piece is made with white ad brown glazed ceramic amphoras with a crackle effect. It is a vintage piece, therefore it might show slight traces of...

Painted ceramic sculpture depicting a Dalmatian dog. England circa 1950.

Giovanni Gariboldi Vase

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

Monumental and rare Giovanni Gariboldi vase for Richard Ginori, Milano, Italy 1930s.

Cardamon 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...

Massive and rare Cast enameled ceramic vase, black glazed made in Italy and designed by Makio Hasuike, the shape is rational and minimalistic representing a contemporary architecture...

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...

Crespina Faenza, last quarter of the 16th century Maiolica painted in two colors, light blue and yellow, on a thick, rich layer of white enamel. It measures 2.24 in (5.7 cm) in height, 6.10 in (15.5 cm) in diameter. lb 0.55 (kg 0.25) State of conservation: mimetic restoration. The small cup has a raised central “umbone”, a perforated brim and a shaped rim. It rests on a high jutting foot. The "crespina" shape, in some inventories is cited as "tacce de frute" (fruit cups). It was particularly appreciated in the Renaissance and has variants based on the formal types and the different sizes. The decoration, made according to the dictates of the “compendiario” style, used few standardized colors: blue and yellow on a thick white and shiny enamel, deliberately chosen as the colour which was most reminiscent of silver. This choice derived from a trend in creative design of the era: the shapes used in the molds were often taken from metal objects. An idea which would last throughout the Renaissance. The work shows, in the middle of the “umbone”, a winged putto stepping forward while playing a long thin trumpet. The depiction of the putto is fully representative of the repertoire of the Faenza workshops of the sixteenth century. Some specimens with this type of decoration have been published in a volume by Carmen Ravanelli Guidotti: there appears the whole productive repertoire of this fundamental moment of transition between the taste for the “istoriato” style and the great simplification of decoration in the “compendiario” period. This style, in its simplicity, however, saw its expression in a rather varied collection of decorative subjects, including old-fashioned busts...

Painted and glazed ceramic figures, 1930s. One of them is signed. They are vintage pieces, therefore they might show slight traces of use, but they can be considered as in excellent...

Pen Holder Ceramic Fornasetti.

Made in Italy, 1970s - 1980s. This piece is made in glazed ceramic. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in excellent or...

Made in Italy, 1960s. This vase is made in hand-painted ceramic. It may show slight traces of use since it's vintage, but it can be considered as in perfect original condition and r...

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...

Made in Italy by Giovanni Bertoncello for Schiavon, 1970s. It is made in brown glazed ceramic. It is a vintage piece, therefore it might show slight traces of use, but it can be cons...

Vintage red ceramic bowl - valet tray, made in Italy in the 1970s with an abstract geometric shape. Hand painted, with a deep red base layer and a ser...

Painted ceramic vase Memphis Milano, Bastione by Luciano Florio Paccagnella, purple, red, green, yellow color. He was an important member of the group when he created his series of ...

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 ...

Painted ceramic vase Memphis Milano, Avvenirista by Luciano Florio Paccagnella, yellow color. He was an important member of the group when he created his series of unique handmade v...

Guido Andlovitz Lavenia, elegant vase in glazed ceramic, 1930s. He was born in Trieste to Edoardo, a chemist in Grado, and Carmela Pasqualis. During the First World War his family ...

Painted ceramic vase Memphis Milano by Luciano Florio Paccagnella, Lola, yellow color. He was an important member of the group when he created his series of unique handmade vases. F...

Painted ceramic vase Memphis Milano, Ilios by Luciano Florio Paccagnella, blue color. He was an important member of the group when he created his series of unique handmade vases. Flo...