Ceramics in Milan

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 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 colors and modern flair. Made of Capodimonte porcelain with a glossy, white finish, this sculpture is shaped like a hand, decorated with plants and vintage cutlery.

This ceramic decorative plate features a distinctive design with intricate nylon-cut incisions on white clay, finished with a transparent crystalline glaze. It belongs to a limited e...

Monumental Italian 1940s Gold on Green Painted Terracotta Vase

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...

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 - ...

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 ...

Lenci Madonna che prega ceramic, 1930, Italy.

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...

Ceramic Lenci..." Our Lady of Peace"

Exceptional pair of cats ceramic 1940, Italy, Tosin.

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, decorated with elements from ancient tarot cards.

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

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...

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...

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...

Splendid 19th-century Italian glazed ceramic sardines jar

Beautiful Italian vase mid-century, modern green and brown Glazed ceramic amphora, 1960s. Ceramic amphora with handles glazed in shades of brown and light green in the central part. ...

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...

Guido Cacciapuoti.

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

Made in Italy, 1950s. This piece is made in hand-painted ceramic and is signed by Ronzani. It is a vintage piece, therefore it might show slight traces of use, but it can be consid...

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...

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 ...

The typical Italian landscapes and views characterize this elegant dessert set of 6 pieces with fancy red and blue tones. Each dish measures 22.5 cm and is 100% made in Italy by mast...

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

A decorative medium-sized round plate from the Rimini Blu collection featuring a glossy bright blue glaze. The plate is crafted with a press technique in refractory white clay and ad...

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...

Large Carraresi e Lucchesi, Sesto Fiorentino Italian Art Deco decorative plate, 1930s.

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

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

Carl Hallier for Royal Copenhagen Danish mid-century vase in oxblood glaze 1940s. Please note : the "free shipping option" and/or "subsidised shipping ...

This elegant centerpiece in white clay features a base in dark grey supporting a conic body made of concentric steps that are finished in red on the outside and in vivid matte green ...

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

Ceramics set consisting of Giovanna bottle, Arturo bowl and six glasses designed by Bertozzi & Casoni for Cooperativa Ceramica d'Imola. Size Giovanna bottle: H 42 cm x W 18 cm x D 1...

Antonio Marras Ceramic vase - collectible handmade vase - rare Italian ceramic This big hand-painted ceramic vase is a wonderful piece unique created by Italian stylist and artist A...

This polished ceramic bust by Clelia Bertetti was made in 1936. She funded Le Bertetti, a ceramic manufacturing company in Turin, that she managed from 1932 til 1942. The company cl...

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...

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...

Splendid Art Deco La Fenice, Albisola Blue and Black Leaf Decorated Vase, Italy 1930s

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) ...

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 colors and modern flair. Made of Capodimonte porcelain with a glossy, white finish, this sculpture is shaped like a hand, decorated with ancient Roman urns.

set piatti gabbianelli - design - ceramica anni 70 - 70s - marchiati - vintage Descrizione : set di sei piatti firmati design gabbianelli blu scuro Origini : Italia Periodo di pr...

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

Essevi “Sandro Vacchetti “ ceramic, 1940, Italy.

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

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...

Guido Andlovitz Extralarge Vase

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

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...

Box with lid No. 387 in gold-colored ceramic with green fabric lace, designed by Ettore Sottsass, Bitossi execution for Il Sestante, c. 1959. The base bears the inscription " Sottsas...

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 ...

The Pino Bamboo Corteccia D7/Notte decorative sculpture features an original design with a textured, segmented form reminiscent of natural bark. Crafted through a complex and meticul...

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

Italian 1950s Biomorphic petrol blue Ceramic vase

Made in Italy, 1950s. This sinuous, dynamic and elegant centerpiece is made in lacquered ceramic that is varnished with iridescent colors. It is a vintage piece, therefore it might s...

Lenci “Avvocatino” ceramic, 1930, Italy.

Zaccagnini “Cicogne” Ceramic, 1940, Italy.