Two flower vases depicting wild boars, described in a naturalistic manner next to fruity tree trunks, may well be considered an emblematic example of the taste prevailing in Europe and elsewhere at the turn of the 19th century. This is not only due to the ceramist’s evident fondness for the subject, and their extraordinary technical skill, but above all because they fit perfectly into that late 19th century taste, in this case of the Nordic style between France and Germany, which is very much peculiar. Although we are not able to trace the manufacture in whose kilns our two vases were made, the ceramic material used is easily recognisable. It is majolica, a type of pottery produced from about 1851 onwards (and examples were presented at the International Exhibition of that year) in the English factory of Minton: Leon Arnoux, the factory’s artistic and technical director, the following year exalted its technical qualities, its shiny, flamboyant appearance, the almost sculptural ductility of its modelling, and the modernity so highly regarded in the age of the Industrial Revolution. Indeed, these qualities can be found in our two vases, and they retain all their charm. The name majolica seems to derive from Renaissance majolica. It was initially used in conjunction with the name “Palissy Ceramics”, which was certainly more appropriate for a product not too dissimilar from the enchanting trompe l’oeil created by the 16th century French ceramist. Under one name or another, the material nevertheless enjoyed extraordinary success with the public, which continued well into the 20th century: and it was copied by various manufacturers of varying fame, both European and American.
A pair of tasteful majolica flower vases made with great skill, perhaps by the French manufactory around 1880, which will be featured in the selective section dedicated to ceramics in the Genoa auction of 29 and 30 March entitled “Dalle Collezioni di Bartolomeo Rizzo” (lot 519, estimated price €600 – €800).