MEASURES:
Height: 10,83 inch ; Width: 6,89 inch , Depth: 0,59 inch
CONDITIONS:
Perfect general condition.

Item description: 
A polychrome ceramic sculptural plaque depicting the frontal bust of a young woman, mounted within a sturdy natural wood frame/support in a honey-brown hue. The figure is not merely painted on a flat surface but modeled in relief; the strongly elongated oval face, the prominent neck, the voluminous hair, and the hand held diagonally across the chest possess a genuine sculptural quality, featuring variations in thickness and a textured surface, that testifies to artisanal craftsmanship rather than a simple printed image. The face is characterized by almond-shaped eyes, a slender nose, a small parted mouth, and an expression of rapt, suspended contemplation; the woman wears a yellow-green/olive garment featuring a dense vertical pattern reminiscent of textured or fringed fabric, rendered through glazes of varying thickness in shades of dark green, blue-green, and yellow-brown. The background of the plaque is the object's most distinctive and tactile element: an irregular weave of violet, lilac, gray, and pale blue-white tones creates a fragmented, almost crystalline visual effect that enhances the light-colored figure in the foreground through contrast. The edges of the plaque are deliberately irregular, further emphasizing the piece's artisanal nature. The wooden support, of simple construction with 45-degree corner joints, features a solid back panel with a metal hanging hook, alongside standard signs of use and small joint gaps consistent with its age. There is no visible signature, monogram, or identifying mark; consequently, the work is described as unsigned. Stylistically, the elongated oval face, slender neck, fine nose, small mouth, and almond-shaped eyes clearly evoke the figurative style of Amedeo Modigliani, although the plaque does not faithfully reproduce any specific painting by the artist; instead, the creator freely reinterprets that visual vocabulary through a sensibility that is distinctly decorative and ceramic, characteristic of Italian taste in the late 1950s and 1960s, as suggested by the voluminous hairstyle and the graphic rendering of the figure, which align with the aesthetics and fashion illustration of the era. For these reasons, the work can be attributed to an unidentified Italian ceramicist and dated to between 1955 and 1965.
Useful information for evaluating the object: 
As this is an unsigned work attributed to an unidentified Italian ceramicist, its valuation should be based not on an attribution to a specific name, but rather on the piece's intrinsic quality, the originality of the technique, and comparisons with works that are truly comparable in terms of type, period, and market standing. A useful, documented point of reference is a set of three ceramic plaques depicting female faces, mounted on a functional wooden backing, created by the Tuscan ceramicist Alvaro Cartei in the Montelupo area between 1960 and 1964; this set was offered on the international platform Pamono for €940, confirming market interest in this type of figurative ceramic-on-wood piece. Conversely, Italian-made objects from the 1960s featuring female motifs but characterized by simpler formats and craftsmanship, such as bowls or small decorative accessories, generally fall into a lower price range, typically between €200 and €300 on the same high-end vintage design platforms. It should be noted that these figures represent asking prices rather than verified auction results; furthermore, comparisons with renowned ceramicists like Fantoni or Gambone, while helpful for understanding the broader context of the post-war Italian art ceramics market, cannot serve as direct evidence of the value of an anonymous work. Market prices for pieces by those artists, when signed and documented, typically sit in a higher bracket that does not apply to an unmarked piece. For this specific piece, its commercial appeal stems from the sculptural quality of the modeling, the refinement of the textured violet-lilac background, the stylistic echoes of Modigliani, and the piece's strong Mid-Century aesthetic character. These elements make it an object of undeniable decorative and collectible charm, even without a specific attribution, with an estimated value consistent with the €200–€300 price range previously noted for similar items.
Artist and/or manufacturer information:
As the creator of the plaque cannot be identified with certainty, it is useful to view the work within the broader context of Italian artistic ceramics in the post-World War II era, a period of extraordinary creative vitality for the entire sector. During the 1950s and 1960s, historic ceramic centers such as Faenza, Albisola, Vietri sul Mare, Deruta, and Tuscany (particularly the Montelupo Fiorentino area) saw a flourishing of artistic craftsmanship. This production combined local manufacturing traditions with a thoroughly modern sensibility, capable of engaging with the pictorial and sculptural avant-garde movements of the 20th century. In this climate, the production of decorative ceramic plaques and panels spread across Italy; often mounted in wooden frames or supports for home interiors, these pieces were created by both industrial manufacturers and individual ceramic artists. While some artists signed their work, others, as is the case with the present piece, left them unsigned despite maintaining a high level of quality. A particularly significant phenomenon of this period was the way Italian ceramicists reinterpreted the languages ​​of the historical avant-garde and the great early 20th-century painters, translating stylistic elements originally conceived in painting or sculpture onto a three-dimensional, tactile medium. It is against this backdrop that the influence of Amedeo Modigliani’s (Livorno 1884 – Paris 1920) female figures emerges; his visual vocabulary, characterized by oval faces, elongated necks, almond-shaped eyes, and pensive poses, evolved from the 1950s onwards into a veritable decorative repertoire within Italian artistic craftsmanship, spanning everything from ceramics to small-scale decorative sculptures. This widespread adoption was driven by the style's instant recognizability and a linear elegance that lent itself naturally to the ceramic medium. Plaques such as the one examined here, unsigned yet finely crafted, testify not so much to the work of a specific, documented master as to the rich, widespread creativity of an entire era of Italian art ceramics. It was a period in which material quality, interpretive freedom regarding 20th-century figurative models, and Mid-Century decorative taste converged to create objects destined both for collectors and for the interiors of the era's bourgeois homes.

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