Large Dish In Italian Majolica Manufacture Antonibon Fruit Decoration 1750

Cinque Piatti Sagomati Del 1700 con una decorazione floreale sul bordo. Gruppo di cinque piatti in maiolica, manifattura faentina del secolo XVIII, corpo ovale dal bordo orlato, con ...

An Italian maiolica berrettino-ground riser from 18th century, central Italy, probably Faenza origin. In the central part of the riser a ruined tower is painted within a mountain lan...

18th century Italian collectible antique painted majolica bowl, a large basin-shaped centerpiece, with vertical ribs, decorated with polychrome flowers. Small chips, felure and minor...

Coppia Di Vassoi in maiolica italiana Con Decoro Al Mazzolino Verde Manifattura Ferniani Fine 1700 entrambi mostrano un ampio cavetto liscio, apodo, larga tesa, lievi costolature e o...

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...

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...

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...

A stunning large antique Italian Raffaellesco majolica wall charger / centerpiece, showcasing exceptionally executed handmade and painted design, dating to the 19th century or earlie...