Maiolica Furniture

A superb antique relief moulded Continental Maiolica dish or plaque relief moulded with a side profile portrait of a figure wearing a military helmet and with the words DUX D'URBINUS...

Manifattura San Carlo della Real Fabbrica di Caserta - Serving dish in Moustiers style with scalloped edge decorated in ocher and green monochrome with a medallion in the center of t...

Large tin-glazed earthenware lebrillo/ basin, form Triana, Seville, Spain 19th century Central design of a dog within in colorful background in yellow, turquoise, manganese and blue.

huge French Majolica Fish Platter Sarreguemines 1950s in very good condition German : Saargemünd / French Sarreguemines) is situated in the north-east of France, on the border wi...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ technique with intricate geometric decoration. Good condition; some chipping to the edges, some wear to ...

An alzatina or crespina, dish on stand. Depicting 'Prudentia'; holding a snake and a mirror in her hands. Italy, 18th century. Dimensions: diam. 23 cm. Good condition: chipping ...

Early 20th century Italian majolica urn. This gorgeous Italian majolica or maiolica urn or jardiniere is hand decorated with serpents, dolphins an...

Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce. Mid 16th century In very good conditi...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

I vasi cilindrici in Maiolica prodotti per Grand Tour sono emblema dell'eccellenza dell'artigianalità Made in Italy. Alti 24cm con diametro di 13 sono perfetti come porta fiori, fogl...

Rare early 16th century Mudejar tile of the so-called ‘Aristo’ or 'cuerda secca' technique Geometric design with a central intertwining cords. Very ornate decoration. This type of...

A stunning and rare antique Italian Maiolica pottery triple gourd vase hand-painted with classical stylised figurative and scroll designs in typical ...

Imposing antique vase in Italian majolica, Mid-19th century. With very fine hand painted classic scenes and grotesque faces embossed to the sides on each handle. Similar vases are ke...

The dish has a broad, gently sloping rim and is decorated in blue with a freely painted floral arrangement in a vase at the center, enclosed within a double circle. The rim is richly...

This pair of majolia shelves with vase is beautiful and refined. Characterized by a rich decoration and bright colors of baroque taste typical of Sicilian production in southern Ital...

Coppia di vasi in maiolica napoletani del XIX secolo. I vasi, con decorazioni in rilievo, presentano scene di natura mitologica e grottesca, tra le tante notiamo infatti centuri con ...

Majolica apothecary jug. Savona manufacture, second half 17th century. In monochrome majolica, ovoid body with a high cylindrical neck that opens into a large mouth with an everted...

midcentury SCHRAMBERG MAIOLICA Barbotine FISH TUREEN TERRINE handpainted Design Period 1955 to 1965 Production Period around 1960 Country of Manufacture Germany H / height: 11cm both ~ Gew. / weight: 2950grs DM / diameter casserole : 30 cm x 15cm x 11cm high ~ 19cm with its lid MARKED: Schramberger Majolikafabrik 5624 :-: fair condition with some very small chips (see photos) - Considering the sensitive material I would even say it is in good condition -- let´s call it charming vintage :-: To ensure a safe arrival, this item is packed in super-safe packaging. (up to 10 Kg) SMF SCHRAMBERG was originally founded in 1820 as Faist'sche Steingutfabrik by the stoneware expert Isidor Faist on the site of the abandoned Schramberg castle. By 1829, Faist and his factory had gained such a good reputation that Baron Ferdinand von Uechtritz became his partner under the new name of Steingut- und Majolikafabrik Uechtritz & Faist. With the Baron's financial support, the partners were able to build a new factory behind the castle, which dramatically increased production. By the 1860s, the company had a permanent workforce of 100 and an impressive number of almost 6,000 homeworkers (decorators, etc.), mainly children and women. From 1882, Faist began taking orders from Villeroy & Boch, who eventually bought the Schramberg pottery in 1883 and continued to operate it as a V&B subsidiary until the early 20th century. In 1911, several of the factory buildings had to be demolished to make way for the local railway, which drastically reduced production and caused Villeroy & Boch to lose interest in the site, which they sold to brothers Moritz and Leopold Meyer in 1912. It was the Meyers who introduced the "SMF" trademark and eventually gave the company its permanent name, Schramberger Majolika-Fabrik. In 1918 the company was transformed from a sole proprietorship to a limited liability company and the transformation was complete. The Meyer brothers were always on the lookout for new talent, and many famous artists joined the factory or contributed designs in the years that followed. Their decorative ceramics, stylized in vibrant colours, attracted much attention in the 1920s. Eva Stricker-Zeisel was a prominent designer for the company from 1928 to 1930. Her designs were strongly influenced by the Bauhaus movement and her modern form and decoration designs gave an avant-garde look to part of the production programme. As well as designing the shapes, Eva Zeisel also supplied the intended decorations for the pieces, although the decoration department often adapted her decorations to shapes for which they were not intended. They would even use them on shapes other than those designed by Zeisel and apply decors not designed by her to her shapes. This particularly happened with the very popular 'Mondrian' pattern, which often appeared on non-Zeisel shapes. The factory continued to produce Zeisel's designs for some time after her departure, but she sometimes felt that the designs were not exactly as she had intended. With the economic crisis of the early 1930s, the focus of production shifted to tableware and utilitarian ceramics, until the Nazis forced Moritz and Leopold Meyer to sell the factory in 1938 as part of the forced aryanisation of the German state. Both emigrated to England with their families during the war, but in 1949 Peter Meyer...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

Design Period 1955 to 1965 Production Period around 1960 Country of Manufacture Italy Gubbio Umbria (Provincia di Perugia) MARKED: by artist C.A.F.F. Gubbio :-:very good condi...

Pair of majolica potiche vases, Antonibon manufacture, Nove Di Bassano, period: first half of 19th century. The potiches with a "pagoda" lid and hexagonal support base are decorated...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

A French 18th century large polychrome Faience lidded soup toureen or entree dish with scallop-shaped edges attributable to Rouen manufacture. This lovely...

Italian Large Majolica Terracotta Sculpture with Lustre by Adolfo Merlone, 1950s Majolica terracotta sculpture decorated with lustre glazes in shades of red, blue and yellow depicti...

Spanish Faience charger with floral motifs. Talavera de la Reina-Puente del Arzobispo, Toledo. Spain, late 17th century. Hand painted in ochre, yellow, brown and blue with a central...

Early 19th century Neoclassical carved and gilded wall brackets realized with a white ivory color majolica demi vase of the Italian manufacture Gi...

Vivid colors, hand-painted in the Renaissance style, enhance this large maiolica pot from the 1800’s. Maiolica is tin-glazed pottery from Italy that has been decorated over a white background. This pot is considered an istoriato, which is to say that the pot has been decorated with figures, rather than strictly geometric patterns or floral designs. The maiolica does incorporate floral and foliate motifs, with white flowers that have yellow centers surrounded by blue rings. There are also yellow flowers that are depicted in various stages of nyctinasty (the closing of flowers during the night). The flora is all connected by a series of green and yellow curled leaves. Behind the vegetation is a dark blue background. There are two portraits inside large yellow cartouches that are painted in the middle of the pot. The first is a bearded man, dressed in a light brown tunic...

19th century Large Maiolica Tin-Glazed Wall Plate with Frolicking Cherubim Probably Cantagalli family workshop Florence, Italy; 19th century Tin-glazed baked clay Approximate size:...

Set of 4 early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. condition: 3 are in very good conditi...

A Savona alzatina or crespina, dish on stand, with blue decor. On the front a heraldic coat of arms with a lion adorned with crown and putto. In the background elaborate architecture...

Splendid polychrome majolica plaque, attributable to the renowned Castelli factory, located in Abruzzo (Central Italy), and dating back to around the end of the 17th century. The pla...

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...

Very large albarello with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N°20 Pesaro, 18th century. Fabbrica Casali Callegari ...

Bamboo Plant Stand Product details From the residence of Antonello Falqui – Falqui Collection. Quadrangular top inlaid with majolica. Dimensions 25 W x 76 H x 25 D cm

Four Villeroy & Boch majolica plates Good condition Thank you

Alhambra vase by La Ceramo, Valencia desde 1889. Early 20th century Hispano-Moresque lusterware vase The model of this vase is an 20th century produc...

A circa 1690 Italian maiolica shallow tazza of Savona manufacture having elaborately molded and pierced rim with reserves decorated allover in hand-painted underglaze blue florals an...

Pharmacy albarello made of majolica, with a particular spool shape. The predominant glaze of the ceramic is white, on which there are decorations in blue and yellow. These decoration...

Pair of majolica vases, produced by the Aetruriae Ars kiln in Sesto Fiorentino, Florence, in the 1960s. They present rather distinctive decorations with bi-anodized handles.

Rare and large Palissy Majolica vase, France, circa 1880. Made on a circular base, the baluster vase with a marbled brown bottom rests. The neck and foot feature motifs inspired by ...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

Cup, vase, two-handled (with two side handles). Manufactured in Pesaro, Italy, 1920. Made of polychrome artistic majolica, decorated with leaves and birds. The two side handles are e...

Albarello wand cover with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N° 49" 18th century. Height: 15 cm incl lid, diameter ...

An impressive 18th century polychrome decorated drug jar or 'Albarello'. The Albarello is of a typical waisted shape, and is decorated profusely in polychrome. The body of the jar is...

Ceramic mortar produced at the Teruel pottery workshops in the 17th century. It has a truncated cone shape with three handles and a pourer. It is tin-...

Pair of round dishes and a small oval tray Antonio Maria Coppellotti factory Lodi, circa 1745 High fire polychrome majolica Dishes size: diameter 9.44 in, height 0.78 in (24 cm, 2 c...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

AN ENGLISH MAJOLICA PEDESTAL IN EGYPTIAN TASTE by JAMES WARDLE & CO. Circa 1880 Modeled with winged lions at each corner enclosing a stylized Egyptian ornament. Moulded laurel wreat...

Laertine majolica amateur cup from the late 17th century. The cup is bi-vaned and includes floral-type decorations. Laterza (Apulia) majolica, is characterized by stanniferous white...

Beautiful and fine pair of white Maiolica mirrors with elegant multi-color flowers drawings, in Baroque Style, handmade in Bassano by the well known Manufacturer Antonibon, coming fr...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

Relief majolica ceramic in the style of Giovanni De Maio 45 available. Good condition. Thanks

Enrico Mazzolani ceramic female figure, Italy, 1930s.

Italian antique vase with lid in blue and white majolica, 1715 Vase with lid with round base in blue and white majolica. On one side of the vas...

Beautiful Massimo Popper Plate, 1911/1914, 20th Century Pompous polychrome ceramic "Marguerite" with a wide brim, short frill, and wide base. The rim is decorated with metopes and t...

Splendid polychrome majolica plate belonging to the Montelupo ceramic workshop. The enamel has also been applied to the rim, in an elegant aqua green, while the background is white d...

English Victorian large blue Majolica porcelain jardiniere of nautilus shell shape raised on a leafy form pedestal base (signed MINTON, 1873)

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 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) ...