Prestigious works of art

A LARGE FLORENTINE JAR (JAR), CIRCA 1725 LARGE JAR, FLORENCE, CIRCA 1725 Glazed earthenware, ovoid body with high cylindrical neck and everted rim, upper part fitted with two ribbon handles with scroll finials and centred with the Medici family coat-of-arms applied in relief just above the engraved inscription FECE/ LORENZO MONTAVTI . This vase, which shows the typical 18th-century form of the imprunetino two-handled jar, belonged to a more numerous series, of which four similar examples are today conserved in the collection of Sir Harold Acton at Villa La Pietra in Florence, some dated 1725 (inv. 1995 no. XII.A.7); 85x61x54 cm. Comparative literature AA.VV ., La civiltà del cotto. Arte della terracotta nell'area fiorentina dal XV al XX secolo , Impruneta 1980 exhibition cat., Florence 2009, p. 219

A FLORENTINE PLAQUE, GRAND DUCAL WORKSHOPS, CIRCLE OF FRANCESCO GHINGHI, 17TH CENTURY PLAQUE, FLORENCE, GRAND DUCAL WORKSHOPS, CIRCLE OF FRANCESCO GHINGHI, 17TH CENTURY in commesso of various marbles and semi-precious stones, rectangular in shape, depicting profiles of the Announcing Angel and the Virgin Annunciate within gilded ovals in relief, in turn framed by geometric frames with polychrome tesserae threaded in black, 13.5x18 cm; mounted within a partially ebonised wooden frame, 24x28.8 cm overall Comparative literature A. Giusti, L'arte delle pietre dure da Firenze all'Europa , Florence 2005, pp. 159-160 figs. 131-132

A FLEMISH JUG, 16TH CENTURY JUG, FLANDERS, 16TH CENTURY bronze, pyriform body with wide rimless mouthpiece and slightly flared foot, body punctuated by thin horizontal incised or relief lines, flat ribbon-like handle with curvilinear course; h. 14 cm, mouth diameter 6.2 cm, foot diameter 8.6 cm

A DUTCH CHARGER, 16TH CENTURY PARADE PLATE, HOLLAND, 16TH CENTURY gilded brass, circular in shape, narrow smooth brim and cavetto decorated in relief with four thistle flowers arranged symmetrically interspersed with stylised leaves. A similar specimen is in the collections of the Rijksmuseum in Amsterdam (inv. No. M.11678); diam. 36.5 cm, h. 5.5 cm Comparative literature O. Ter Kuile, Koper & Brons , Amsterdam 1986, p. 171 no. 233

A FLORENTINE PARADE COAT OF ARMS, 18TH CENTURY COAT OF ARMS FOR PARADE, FLORENCE, 18TH CENTURY Of shaped form painted in oil on panel, the coat of arms, surmounted by a princely crown, shows on the left the emblem of the Albizi family (in black, with two concentric circles of gold, with the head in silver charged with the cross in black) while on the right an unidentified family depicting a rampant deer in gold on a red background. The decoration is completed by large acanthus leaves on the sides and underlying blue drapery, 164x131 cm

A PAIR OF ROMAN EWERS, LATE 16TH CENTURY TWO POURERS, ROME, LATE 16TH CENTURY in blue monochrome majolica, ovoid body on a flat foot, double rope loop ending in a curl and cylindrical spout. The decoration develops on a beryl background with a phytomorphic motif of bipartite leaves framing the pharmaceutical cartouches with Gothic lettering, one subtended by a winged dragon figure, the other by a cherub face; h. 24.8 cm, diam. of mouth 9.5 cm, diam. of foot 9.5 cm and h. 25.2 cm, diam. of mouth 10.2 cm, diam. of foot 9.6 cm

A PAIR OF LARGE VASES WITH LID, SAVONA, CIRCA 1720 PAIR OF LARGE VASES WITH LID, SAVONA, CIRCA 1720 polychrome decorated faience, baluster body with expanded rim and base, domed lids with rounded knob. The decoration is consistent in both specimens with an alternating pattern of reserves on the body depicting female figures accompanied by children or cupids, while on the base the relief reserves contain female portraits. The decoration is completed by polychrome pods and French-style decorative elements outlined in cobalt blue. The two vases belong to a series whose provenance and attribution has led to various interpretations over the years. Similar specimens passed through private collections, published in the 1970s with attributions that were at first generic and then close to the Ligurian area (Morazzoni; Levy 1964) and then for some attributed to Lombard production in the Lodi area (Conte 1973). However, all studies remain in agreement as to the date, to be ascribed to the first quarter of the 18th century. The attribution of the works to Agostino Ratti, already hypothesised by Poggi at the time when similar vases became part of the collections of the Savona Museums, is currently to be rejected. Two similar specimens complete with lids are preserved in the collections of the Cassa di Risparmio di Savona, while three other vases are in the Museo della Ceramica di Savona, without lids and restored after being damaged during the last war. Reference should be made to these latter works for further study history and related bibliography; h. cm 46, mouth diameter cm 25.5, foot diameter cm 18.8 Literature S. Levy, Maioliche settecentesche. Piemontese, ligurian, romagnole, marchiane, toscane e abruzzesi , Milan 1964, table XII Comparative literature R. Aiolfi (ed.), La ceramica Savonese nella Raccolta Civica , Savona 1990, pp. 72-75 n. 143

A DEVOTIONAL PLAQUE, TUSCANY, 1765 DEVOTIONAL PLAQUE, TUSCANY, 1765 Made of polychrome-painted majolica in shades of yellow, iron red and copper green with manganese brown trim to shade the double frame; rectangular in shape, the bas-relief plaque depicts the Gospel episode of the Annunciation. In terms of style and colouring, the plaque is probably referable to a Tuscan workshop, datable thanks to the date engraved on the back 1756, together with the letters A.F.f .; 46.5x35 cm.

A MOULDED BOWL (CRESPINA), RIMINI, 'MAESTRO DEL 1574', CIRCA 1574 CRESPINA, RIMINI, "MAESTRO DEL 1574", CIRCA 1574 Polychrome painted majolica, moulded body with raised umbo, high foot inscribed in the centre in cursive God When He Formed / Eve . The full-surface front depicts the Birth of Eve from the rib of a sleeping Adam, according to the iconography derived from the woodcut in the Lyons Bible dated 1554 with illustrations by Bernard Salomon. This subject has been replicated twice more by the same painter, in a specimen kept at the Civic Museum of Rimini and the other at the Fitzwilliam Museum in Cambridge, resulting in three very similar works, differing only in some details of the naturalistic setting and the ground in the foreground; diam. 27 cm, foot diameter 13.8 cm, h. 7.5 cm Literature R. Gresta, O. Delucca, La ceramica a Rimini nel Cinquecento. Maioliche istoriate e documenti d'archivio, Rimini 2020, pp. 108-109 n. 35

A BOWL, URBINO OR DUCHY OF URBINO, SECOND HALF 16TH CENTURY BOWL, URBINO OR DUCHY OF URBINO, SECOND HALF 16TH CENTURY in polychrome painted maiolica moulded with a raised umbo, moved rim, high foot inscribed in the centre in cobalt blue cursive Superbia de / risitone . On the front, the decoration depicts the myth of Erisittone, here depicted in the act of cutting down a tree, from the trunk of which a stream of blood flows, knowingly profaning a wood consecrated to the goddess Demeter. The figure is taken from an engraving by Bernard Salomon made to accompany La Métamorfose d'Ovide figuré printed in Lyon in 1559, depicting, however, Crasitone, here freely used in mirror form; diam. 22.8 cm, foot diameter 8.6 cm, h. 3.8 cm

A GERMAN PLAQUE, 19TH CENTURY PLAQUE, GERMANY, 19TH CENTURY painted in oil on glass depicting the Deposition of Christ, 21x18.2 cm; within ebonised wood frame with gilded stop, 28x25.5 cm

A FLEMISH PLAQUE, 18TH CENTURY PLAQUE, FLEMISH AREA, 18TH CENTURY painted in oil on glass depicting the Gospel episode of Mary Magdalene washing at the feet of Jesus in the house of the Pharisee, 21.5x25.8 cm within a gilded wooden frame, 29.6x34.7 cm

A LIMOGES PLAQUE, 19TH CENTURY PLAQUE, LIMOGES, 19TH CENTURY in copper with polychrome enamelling and gold highlights, rectangular in shape, depicting a soldier holding a large banner in his left hand, his horn belted to his side, his head covered by a large feathered hat, 24.5x17 cm. Within carved and gilded wooden frame, 50.5x41 cm

A TUSCAN RELIQUARY, EARLY 17TH CENTURY RELIQUARY, TUSCANY, EARLY 17TH CENTURY Gilded bronze and copper, embossed and chiselled, poly-lobed foot with figures of prophets and leaf decoration, ovoidal node with recurring figures of angels; the structure of the case is circular with openings punctuated by caryatids and rests on a rounded base chiselled with fruits and cherubs' heads; the lid, similarly decorated, is surmounted by a statuette; h. 43 cm, diam. 15 cm

A GERMAN COAT-OF-ARMS GLASS, 17TH CENTURY COAT-OF-ARMS GLASS, GERMANY, 17TH CENTURY rectangular in shape painted in polychrome depicting two saints and a bell tower in the background, portrayed within an architectural frame with painted scenes above the tympanum and a cartouche with two putti and a coat-of-arms at the base, 31.2x23 cm. Within a carved and gilded wooden frame, 52x43.4 cm overall

A CENTRAL ITALY RELIQUARY, 17TH CENTURY RELIQUARY, CENTRAL ITALY, 17TH CENTURY made of gilded copper and bronze and silver-plated metal appliqués, with a stepped circular base with the inscription S - MARIE - MADALENE - RELIQUIE within a frame of leaves, a shaft with a pyriform knot also decorated with leaves and a central band with the inscription SOR - MADALENA - IACOMINI. The theca, resting on a corolla, is of square architectural form with Doric half-columns at the four corners and a dome decorated with plant racemes in relief, pinnacles and applied cherubs' faces; cross-shaped finial, 36x10 cm

FOUR LIMOGES PLAQUES, 19TH CENTURY FOUR LIMOGES PLAQUES, LIMOGES, 19TH CENTURY in polychrome enamelled copper depicting portraits of gentlemen and gentlewomen, mounted within a rectangular frame with feet and rich upper frieze in lacquered and gilded wood, 37x27x5.5 cm (overall)

A LOMBARD RELIQUARY, 16TH CENTURY RELIQUARY, LOMBARDY, 16TH CENTURY gilded, embossed and chiselled bronze and copper in architectural form; polylobate foot with moulded and dotted band decorated with plant motifs, large spherical node punctuated by vertical pods supporting the shrine in the form of a square tabernacle supported by columns at the corners, occupied at the centre by a statuette of a saint in a cylindrical glass shrine; upper part in a semi-spherical dome surrounded by four turned pinnacles; h. 30 cm, diam. 14.5 cm

A SALT CELLAR, DERUTA, EARLY 17TH CENTURY SALT CELLAR, DERUTA, EARLY 17TH CENTURY polychrome painted majolica, quadrangular body resting on four feral legs, strongly keeled band decorated at the corners with plastic harpies, upper basin also quadrangular with curved walls. The entire surface is decorated with a continuous pattern of raffaellets composed of flowers, harpies and real decorations; 10.5x13.5 cm Comparative literature C. Ravanelli Guidotti, Paolo Mereghi Donation. European and Oriental ceramics , Faenza 1987, p. 234 n. 113

A SMALL CENTRAL ITALY BOWL, 17TH CENTURY SMALL BOWL, CENTRAL ITALY, 17TH CENTURY polychrome painted majolica, flat brim painted with a continuous vegetal frieze, cavetto centred by the figure of a rampant lion with a sphere between its front paws; diam. cm 14,5, foot diam. cm 5, h. cm 4

A HOLY WATER STOUP, DERUTA, EARLY 17TH CENTURY HOLY WATER STOUP, DERUTA, EARLY 17TH CENTURY in polychrome painted majolica of architectural form. Inside an arch supported by small columns, Christ is depicted, slightly in relief, on the cross with the symbols of the Passion; the underlying basin, flared and straight in the front elevation, is decorated with pods and bears the inscription ECCE + HOMO in the upper band; 20.5x12.5x4.5 cm Comparative literature M. Cecchelli, L. Samoggia, Il Sacro Domestico. Acquasantiere italiane dal XVI al XIX secolo , Cento 1999, p. 183 fig. 128a, p. 231 n. 6

A PLATE, CASTEL DURANTE, WORKSHOP OF LUDOVICO AND ANGELO PICCHI, CIRCA 1550-1560 PLATE, CASTEL DURANTE, WORKSHOP OF LUDOVICO AND ANGELO PICCHI, CIRCA 1550-1560 In polychrome decorated majolica, depicting a scene with a seascape and high rocks in the background, while in the centre is Thisbe as she discovers the corpse of Pyramus, who killed himself believing her to be dead; the lion at the origin of the misunderstanding is crouched in front of the body, while a white horse stands behind the woman. On the right, a fountain flows near Nino's tomb, the site of the feral meeting, where the epigraph describing the scene is hastily written in italics: Pyrrhus and Thisbe ; diam. 22 cm, foot diameter 9.5 cm, h. 3.5 cm

A DISH, RIMINI OR LYON, CIRCA 1580-1620 DISH, RIMINI OR LYON, CIRCA 1580-1620 in polychrome painted majolica with a sacred scene. The reverse side in cursive script reads La rouina del tempio per segnali Reuela a, suoi discepoli 'l Signore , indicating the Gospel episode of the prediction of the destruction of the temple, depicted on the front: in the centre, Jesus in dialogue with his disciples in the square of a city, which can be glimpsed in the background tall and turreted, points to a circular temple on the right. The work, which finds some comparisons among the plates from the Adriatic area leading from Urbino to Venice, of which numerous testimonies are to be found in the collections of German museums, does however, in our opinion, find a great affinity with some French works, and in particular with a recently published large plate, attributed to the Urbino period of the career of an itinerant painter who was active in Lyon from 1585; diam. 24.7 cm, h. 3.5 cm Comparative literature T. Wilson, The Golden Age of Italian Maiolica Painting , Turin 2019, p. 338 no. 147

A CARPIGIAN PANEL, SECOND HALF 17TH CENTURY PANEL, CARPI, SECOND HALF 17TH CENTURY in scagliola executed in bichrome black and white, depicting David with the head of Goliath, a subject derived from a well-known painting by Guido Reni now in the Uffizi, here however reproduced faithfully following the engraving by Giacomo Piccini (active in Venice, 1617ca. - post 1669), which differs from the original painting in that it is proposed as a counterpart with the exception of Goliath's head, inclined as in the canvas. Mounted in a gilded wooden frame with red velvet passepartout; 31x23.2 cm the panel, 46.5x39.5 cm overall

A MARBLE FONT, 17TH CENTURY CENTRE STOUP, 17TH CENTURY in white marble, octagonal-shaped basin outlined by a fusarium motif alternating with circular elements, one face bears inscribed the date MDCXXVII, on the opposite face the initials CR with two flowers on either side. Quadrangular stand with rounded corners decorated with a flower on the front, flared quadrangular base carved with dolphins at the corners, 116x94.5 cm

A CARPIGIAN PANEL, HALF 17TH CENTURY PANEL, CARPI, MID-17TH CENTURY in scagliola executed in bichrome black and white, depicting the Rest during the Flight into Egypt, a subject taken from a painting by the Pesaro painter Simone Cantarini (Pesaro 1612 - Verona 1648), made before the printing and in counterpart, preserved today in the Louvre Museum. The scene shows the Virgin holding the naked Child with both hands and her arms outstretched, while St. Joseph, seated under the trees, observes them. . Mounted in a gilded wooden frame with red velvet passepartout; 25.3x29.8 cm the panel, 41.5x45.5 cm overall.

A PAIR OF MANISES SHAVING BOWL, EARLY 18TH CENTURY TWO SHAVING BOWLS, MANISES, EARLY 18TH CENTURY Lustre-decorated faience, circular body with typical hollow on slightly inclined brim and deep cavetto, decorated respectively with large carnation motif and bird; all around secondary decorations of geometric or naturalistic inspiration. On the back of both, large spiral decoration; diam. 31.5 cm, h. 12.5 cm and diam. 28.5 cm, h. 9.8 cm

A DISH, SEVILLE, FIRST HALF 16TH CENTURY DISH, SEVILLE, FIRST HALF 16TH CENTURY Majolica dish decorated with metallic lustre, wide slightly sloping brim with slightly raised rim, wide cavetto and raised central umbo. The decoration on the front is dominated by small stylised motifs developed around a large lustre-decorated band occupying the entire brim; cavetto centred by a plant motif within a frame decorated with almond motifs partially filled with cross-hatching. On the reverse side numerous concentric circles painted in lustre; diam. 38.2 cm, h. 7.2 cm

A MONTELUPO DISH, SECOND HALF 17TH CENTURY DISH, MONTELUPO, SECOND HALF 17TH CENTURY in polychrome painted maiolica, flat slightly concave shape with rounded rim and slightly raised ring foot. The surface is entirely covered by the polychrome decoration, while on the reverse side the dish shows three concentric manganese lines. In the centre of the composition an arquebusier portrayed in profile advances with spread legs, and behind him an essential landscape with large pebbles set between two rounded peaks and slender threadlike stems; diam. 31.2 cm, h. 6 cm

MONTELUPO DISH, CIRCA 1640-1660 DISH, MONTELUPO, CIRCA 1640-1660 in polychrome painted maiolica, flat slightly concave shape with rounded rim and slightly raised ring foot. The surface is entirely covered by the polychrome decoration, while on the reverse side the dish shows three concentric manganese lines. In the centre of the composition, a peasant woman with a basket of fruit on her head advances in the typical landscape with pebbles and two mountain peaks in the background, a tree with fruit on the right and a porticoed building on the right; diam. 31.6 cm, h. 6 cm

A MONTELUPO DISH, SECOND HALF 17TH CENTURY DISH, MONTELUPO, SECOND HALF 17TH CENTURY in polychrome painted maiolica, flat slightly concave shape with rounded rim and slightly raised ring foot. The surface is entirely covered by the polychrome decoration, while on the reverse side the dish shows three concentric manganese lines. In the centre of the composition, a female figure in a wide robe holds in her right hand a large heart pierced by an arrow, and behind her is an essential landscape with two rounded peaks; diameter cm 31.8, h. cm 6.2

A MONTELUPO DISH, SECOND HALF 17TH CENTURY DISH, MONTELUPO, SECOND HALF 17TH CENTURY in polychrome painted maiolica, flat slightly concave shape with rounded rim and slightly raised ring foot. The surface is entirely covered by the polychrome decoration, while on the reverse side the dish shows three concentric manganese lines. In the centre of the composition is a standard bearer with spread legs and behind him an essential landscape with the two typical peaks; diam. 31 cm, h. 6 cm

TO MARCO DELLA ROBBIA (FRA MATTIA) RELIEF, FLORENCE, CIRCA 1530 RELIEF, FLORENCE, MARCO DELLA ROBBIA (FRA MATTIA), CIRCA 1530 in polychrome glazed terracotta of rectangular form, depicting a festoon of fruit hanging from a lion protome. Similar tiles are to be found in the grandiose altarpiece made by Marco della Robbia himself between 1527 and 1331 for the collegiate church of Montecassino; 31x16.5x14 cm Comparative literarure G. Gentilini (ed.), I Della Robbia e l'arte nuova della scultura invetriata , Florence 1998, pp. 329-330 n. V.2 a-f

A LARGE PHARMACY JAR (ALBARELLO), TRAPANI, EARLY 18TH CENTURY LARGE ALBARELLO, TRAPANI, EARLY 18TH CENTURY Polychrome painted majolica, cylindrical body tapering to the centre, neck with everted rim and flat base. On the front, within a large yellow background reserve, there is a cartouche frame centred by an oval shield with heraldic emblem and motto in a cartouche, while the back shows large curled leaves outlined in yellow and green and racemes drawn in blue; on the neck parallel vertical dashes and at the base a stylised garland; h. 36 cm, mouth diameter 19 cm, foot diameter 17.5 cm Comparative literature G. Donatone (ed.), Maiolica delle Due Sicilie , Naples 1998, pp. 152-153 no. 76

AN EWER STAND, CENTRAL ITALY, 17TH CENTURY EWER PLATE, CENTRAL ITALY, 17TH CENTURY in faience with white glaze, decorated on the brim with a small heraldic emblem; shape with a slightly raised umbonate centre, balk and brim kissed. This type of basin, accompanied by a spout for washing hands during banquets, was produced in Central Italy between Umbria, Lazio and Rome during the 17th century; diam. cm 44.5, h. cm 5

A GERMAN PROFILE OF A WOMAN, 19TH CENTURY PROFILE OF A WOMAN, GERMANY, 19TH CENTURY in polychrome wax on slate depicting a profile of a woman wearing a pearl diadem and an elegant dress of cloth and lace, in a gilded frame 28.5x23.5x4.5 cm (overall)

A VENETIAN FOOTED DISH, 19TH CENTURY RISER, VENICE, 19TH CENTURY in colourless glass with relief decoration in blue glass, flat circular dish with slightly raised rim, central area decorated with a double dotted frame centred by a double twisted ribbon decoration in relief; goblet foot with corded rim; diam. 32 cm, h. 9.5 cm

A NORTHERN ITALY BASIN, 18TH CENTURY BASIN, NORTHERN ITALY, 18TH CENTURY copper, oval shape with twisted leaf handles, everted notched rim, recessed band and rounded body worked with punches, 17.5x56.5x41 cm

THREE GERMAN ALMS DISHES, 18TH/19TH CENTURIES THREE ALMS DISHES, GERMANY, 18TH/19TH CENTURIES embossed brass, flat brim with fine stylised engraved decoration, raised umbo decorated with oblique bakel motif surrounded by band with Gothic inscription; diam. 51.5 cm, 42.7 cm and 41.8 cm

A LARGE GERMAN ALMS DISH, 19TH CENTURY LARGE ALMS DISH, GERMANY, 19TH CENTURY embossed copper, embossed umbo worked with pods from which departs a complex floral motif decoration, with lion faces and stylised palmettes interspersed with half-leaves, terminating in an outer profile punctuated by oblique pods, brim affected by double profiling, diam. 82 cm

A NORTHERN ITALY CROWNED COAT OF ARMS, EARLY 18TH CENTURY CROWNED COAT OF ARMS, NORTHERN ITALY, EARLY 18TH CENTURY in white marble with polychrome marble inserts, the central shield in green marble depicting a two-coloured cross resting on a high relief pedestal; 56x41x26 cm

A PAIR OF HYDRIAS (STAGNONI), SAVONA, LATE 17TH CENTURY PAIR OF STAGNONI (HYDRIAS), SAVONA, LATE 17TH CENTURY in majolica painted in cobalt blue monochrome on azure glaze, ovoid body made on the potter's wheel with dragon's head handles rising from two masks, while a third, pierced for the escape of liquid, is at the base of the front; high truncated conical neck with rim, flared goblet foot. The entire surface shows a 'baroque historiated' decoration with mythological scenes, interrupted on the front of both vases by the cartouche containing the pharmaceutical inscription ( Aqu Acettose and Aqua Boragi. ). Coat-of-arms mark of Savona on the bottom of both; h. cm 45, diam. mouth cm 16.2, diam. foot cm 18.2 and h. cm 43, diam. mouth cm 17, diam. foot cm 18 Comparative literature C. Chilosi (ed.), Ceramics of the Ligurian Tradition. Thesaurus di opere dal Medio Evo al primo Novecento , Milan 2011, pp. 125-126 n. 136 (for morphology)

A CONRADO (?) BOTTLE EWER, ALBISOLA, EARLY 18TH CENTURY BOTTLE EWER, ALBISOLA, CONRADO (?) MANUFACTURE, EARLY 18TH CENTURY in majolica painted in blue monochrome, quadrangular body with four separate compartments and arched handle for handling. The decoration features Baroque-style historiated scenes with different stories and protagonists arranged on all sides. The style is rapid, made with such a large amount of pigment and glaze that it causes some dripping during firing. The work seems to us to be close in quality and style to the production of the Conrado workshop, to which it can be attributed despite the absence of the mark under the base, left unglazed; 20.4x20x20 cm.

A CONTAINER, SAVONA, EARLY 18TH CENTURY CONTAINER, SAVONA, EARLY 18TH CENTURY in faience painted in monochrome, bottle-shaped body in cubic form with a slightly raised circular spout positioned close to a corner. Of uncertain definition, it could be an example of a large inkwell or, in any case, an anomalous bottle-shaped container, with the spout shifted away from the centre to encourage the spilling of liquid. The work has a blue monochrome decoration depicting, on the sides, horsemen on galloping steeds with different weapons and functions: a horseman with drawn sword, a trumpeter, a halberdier and another horseman proceeding at pace; on the upper face, instead, a seated man and woman indicate the horizon. While all the figures seem to be inspired by engravings, perhaps from Gerusalemme Liberata, the form and refinement of the decoration confirm the originality and rarity of the work. The background is unglazed; 12.5x14.4x14.2 cm

A PAIR OF VASES WITH LID, LIGURIA, PROBABLY SAVONA, SECOND HALF 18TH CENTURY PAIR OF VASES WITH LID, LIGURIA, PROBABLY SAVONA, SECOND HALF 18TH CENTURY Made of faience painted in manganese brown monochrome, bulging baluster body on high moulded foot, polylobed domed lid with button grip. The decoration covers the entire surface with a landscape motif of architecture and large trees with birds and small insects. Asterisk mark in manganese under the base of both vases; one vase bears the label ENTE PROVINC. TURISMO GENOVA / MOSTRA ANTICA MAIOLICA LIGURE with the name of the exhibitor Nino Ferrari ; l. cm 31.5, base cm 16.2x13.5 Comparative literature L. Pessa (ed.), Le ceramiche liguri. Musei e collezioni della città di Genova , Milan 2005, p. 110 nn. 136-137

A CHARGER, SAVONA, LAST QUARTER 17TH CENTURY PARADE PLATE, SAVONA, LAST QUARTER 17TH CENTURY in faience painted in blue monochrome with a horizontal brim and wide cavetto, The entire surface of the front is decorated with a scene depicting The Rest of King Ferdinand II during the Siege of the City of Seville, from an engraving taken from the book by J. Antoni de Vera (Milan 1632), in the background landscape with architecture in the distance and a tree screen. On the reverse, decoration with "Chinese style" plans and in the centre the shield mark in blue, traditionally attributed to the Savona kilns; diam. 39 cm h. 5.8 cm

A LARGE GUIDOBONO-FERRO DISH, SAVONA, 18TH CENTURY LARGE DISH, SAVONA, GUIDOBONO-FERRO KILN, 18TH CENTURY in polychrome majolica, wide cavetto, very low and wide brim just oblique with rounded rim just raised. The ornamentation is made in the manner known in literature as "a figuretti e rovine" and features a female figure and a child in a landscape with plum trees and the ruins of a Roman aqueduct, the sky filled with butterflies in flight. The decorative mode is rapid but extremely precise and belongs to the production of tableware that favoured these free scenes in its productions. On the reverse, Fortezza mark in manganese attributable to the Guidobono - Ferro company at the beginning of the 18th century and to the Ferro company later; diameter 39 cm, h. 5 cm Comparative literature L. Pessa in C. Chilosi (ed.), Ceramiche della tradizione ligure, Thesaurus of works from the Middle Ages to the early 20th century , Cinisello Balsamo 2011, pp. 156-159