Ceramics in Milan

Couple Porta Vasi Ceramic - Austria 1940 -

A beautiful C5 vase by Antonia campi. Decorated probably at a later date with flowers and butterfy Fully signed

Vase / Vase Holder Richard Ginori Gio Ponti

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

Beautiful vintage Chinese ceramic tray dating from the early 1900s, also useful as a pocket emptier or centerpiece. The vintage Chinese tray is entirely ha...

Made in Italy, 1970s. This wonderful tulip vase was designed by Carlo Moretti and is made in hand-blown and etched glass. It is labeled, but it is illegible. This is a vintage piece...

Giovanni Gariboldi.

Established in 1998, the project Le Morandine is a tribute to a grand master of Italian art, Giorgio Morandi, an artist who, with particular intensity and elegance, was able to shed ...

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....

Ronzan baby tiger ceramic, 1950, Italy.

N 5 Vases Richard Ginori Gio Ponti Vase Holder

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...

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...

N 5 Vases Richard Ginori Gio Ponti Vase Holder

Made in Florence, Italy, in 1960s - 1970s. This piece is made in earthenware, which was modeled, decorated, fired, hand-painted and fired again to glaze it with a semigloss finish. ...

Italian Art - Sculpture - Rare Ceramic Sculpture - Emilio Scanavino - Italian Ceramic Fluid pebble-shaped artwork in ceramic by Italian modern artist Emilio Scanavino. Handmade and...

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...

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...

N 1Vaso Portavaso Richard Ginori Gio Ponti

Made in Italy, 1940s. This brass, plexiglass and glazed ceramic piece is made by Arturo Pannunzio. It can be switched on. This is a vintage piece, therefore it might show slight tra...

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...

Elegant ceramic vase produced by Società Italiana Ceramica (SIC), Italy, circa 1950s. The vase is defined by a strong, well-balanced architectural form, combining a clean cylindrical...

Tosin.

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...

Richard Ginori Giovanni Gariboldi couple vase ceramic, 1950, Italy.

Richard Ginori Gio Ponti Vase Holder

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...

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...

Giovanni Gariboldi Vase

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

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...

Guido Andlovitz.

Lenci.

Big Ceramic Tray - Marine Themed Ceramic - Collectible Handpainted Ceramic Offered for sale is a vintage, uncommon and very cool ceramic tray, handmade and hand painted, decorated w...

Pen Holder Ceramic Fornasetti.

Female skier with sled

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...

Covered with a pattern made of dense, decorative, raised scales, this unique vase in white glazed terracotta combines a bold pattern with an elegant finish. The scales have a small, ...

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...

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...

Wonderful hand painted ceramic centerpiece made at the beginning of 900, of Chinese manufacture. The centerpiece has a circular shape and is totally made of red and white ceramic totally hand painted. It is composed by a central body useful as object holder, cookies or candies holder...

Made in Italy, 1950s. This item is made in lacquered ceramic and might show slight traces of use since it's vintage, but it can be considered as in excellent original condition and r...

Albisola “La Fenice” vase sculpture ceramic, 1930, Italy.

Ronzan.

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 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 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 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 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 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 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 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...

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...

S.Richard S.Cristoforo umbrella holder vase ceramic, 1920, Italy.

Richard Ginori Giovanni Gariboldi vase ceramic, 1950, Italy.

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...

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 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...

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...

Crocefix Ronzan ceramic, 1950, Italy.