Just across the aisle, Bazaart shows a selection of Renaissance Italian majolica. “For a ceramic dealer, it’s always good to show in a different context. It is a very narrow field,” said Camille Leprince, circulating the stand. “There are maybe a dozen dealers in the world. Business can be very quick because we can look at things and know what it is immediately. But it’s very nice to show this kind of work to people who are not accustomed to seeing things like it.”
The booth is split into three main threads. One wall features “the best ceramic painters from Urbino,” according to Leprince, including one plaque priced at £280,000, which recreates a drawing by
. Another features a “princely credenza” replete with both decorative and functional objects. “It’s a show-off display that would have been in a palazzo,” says Leprince. “What’s fascinating is that these are the original colors. When you look at an
painting, you can never see the color as it was when it was created. With these, because they were fired, it never changes,” he adds. Notably, though he says “all the pieces are museum quality,” there are no vitrines in sight. It’s a feature across Collections that creates a distinct level of intimacy with these ancient objects and was the result of Sir Rosenthal’s influence, according to several dealers.