Fire-Enamelled Copper Plate with Odyssey Ulysses Voyage Motig from B.M.B. Manufacture, Florence, 1920s

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Description of the object
decorative fire-enameled copper plate, handcrafted by a florentine artistic enamel workshop around the mid-20th century, as … Read more Description of the object
decorative fire-enameled copper plate, handcrafted by a florentine artistic enamel workshop around the mid-20th century, as attested by the original label affixed to the back: “b.m.b. – artistic enamels on copper – florence.” in the center, against a pearl-gray background with a matte, velvety finish, stands an ancient sailing ship with its sails unfurled. The stern curves upward, ending in an elegant ornament; the bow stretches out over the water; and the hull is marked by several rows of planking decorated with small touches of red, green, and light blue. The large sail, stretched between the mast and the yard, is crisscrossed by a dense network of ropes descending toward the deck, where four figures are busy with the rigging or scanning the horizon. The design, concise and almost archaic, is outlined by dark contours in slight relief that enclose fields of brown, gray, ochre, and sky-blue enamel: a choice that recalls vase paintings and ancient depictions of ships from the mediterranean and evokes the allure of the great voyages of antiquity, from odysseus’s odyssey to the routes of the greek and phoenician merchants. The technique used is high-fire enamel on copper, one of the most challenging in the decorative arts: colored glass powders are applied by hand to the metal plate and fused in a kiln at extremely high temperatures, in several successive firings, until they form a glossy, glass-like surface. The reverse side is protected by a dotted counter-enamel, necessary to prevent the copper from warping during firing. Its florentine origin and artisanal production are confirmed by the workshop’s original label. The condition is good, considering its age: the front shows small areas of enamel loss, especially along the edge, superficial scratches, and some slight whitish residue, while the back displays the metal’s natural oxidation and some traces of rust left by the spring-loaded plate holder, which is included in the sale.

information about the artist and/or manufacturer
enamel on metal is one of the oldest and most refined arts: already known in the byzantine world, it reached extraordinary heights in the middle ages with the enamels of limoges and in the renaissance with the italian goldsmith workshops, beginning with those in florence. In the 20th century, this technique experienced a new and vibrant revival. In the 1930s, paolo de poli, in padua, transformed it into a modern language, collaborating with gio ponti and presenting his works at the milan triennials and the venice biennales. After world war ii, enamel on copper became one of the iconic materials of italian design, chosen by artists and designers for plates, panels, vases, and furnishings featuring intense colors and minimalist forms. Florence, with its long tradition of goldsmithing, was one of the most active centers of this revival: numerous workshops and artists, such as bruno santini, produced high-quality enamels, often sold in the city’s art shops and labeled with the workshop’s name, without the artist’s signature. Today, these works are increasingly sought after by collectors of decorative arts and modern antiques, prized for their technical mastery and the unique character of each piece. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
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