Those wishing to deepen their knowledge of Galileo Chini—his life, artistic expression, or the Chini Manufactory—not to mention the Liberty style with all its names and variations—can rely on an extensive body of studies and testimonials.

From an iconographic standpoint, there is also a satisfactory amount of material available. While there is no factory catalog documenting the models from the early years of activity, numerous publications linked to exhibitions, both permanent and temporary, offer a sufficiently broad perspective to grasp the stylistic essence of Chini’s work.

So, what additional insights could be offered to encourage those who wish not only to admire but also to own a Chini ceramic?

Below, I have attempted to outline a few considerations that are more “trade-oriented” than academic, perhaps useful for framing the topic from a market perspective.

Liberty Maiolica

In the field of ceramics, the Italian Liberty style was born precisely in Florence, thanks to the extraordinary sensitivity of Galileo Chini. He was the first to perceive and align himself with the emerging aesthetic trends spreading across Europe.

Tuscany, as a whole, made a generous contribution to this historic phase of national ceramic production. Following Galileo’s groundbreaking example, several manufactories began producing Liberty-style ceramics, including:
Ceramiche Salvini, Egisto Fantechi, Società Ceramica di Colonnata, Florentia Ars, Scaf, Sifma, and even Ginori (which had recently become Richard Ginori).

While there are qualitative fluctuations among these manufacturers, the overall level is high, and their pieces are highly sought after. Ginori, as always, produced exceptional maiolica, but its Liberty style is considered hybrid, as the shapes of its vases remained classical, with decorations bearing a distinctly Pre-Raphaelite flavor.

The case of Cantagalli stands apart, with its extremely limited, high-value production featuring forms updated to Art Nouveau tastes and enhanced by metallic luster, with little to no influence from Chini.

Almost all the listed manufactories had a background in traditional craftsmanship, or they simultaneously produced historicist-style maiolica alongside their Liberty creations. Today, there is a clear difference in value between these two types of production, with Liberty ceramics being far more prized—not only for their rarity but also as genuine testimonies to a moment of extraordinary artistic ferment.

Framing and Valuations

In general, when comparing objects of the same entity and proportions, the prices of Chini ceramics are much higher than those of all other mentioned Tuscan manufacturers, with a necessary distinction for the Salvini manufacture, whose products are very rare to find and, although they have a very limited market, can command considerable prices.
The first criterion for distinction can be based on the material: in this sense, and in purely general terms, the production of salt-glazed stoneware can be considered the least expensive; on the other hand, metallic luster is always considered the most valuable finish and the highest technical added value for ceramics.
A second evaluation parameter is the brand, which also carries an epochal and stylistic connotation.
In principle, a preference is given according to the chronological order of production. Therefore, the first mark, related to the “Art of Ceramics” period, namely the pomegranate, which can be embossed (fig. A), impressed in the paste (fig. B), or painted (always in blue underglaze) (fig. C), is always highly appreciated; even more so if paired with the painted little hands in blue underglaze, symbolizing the spirit of brotherhood that animated the founding members in their early years (fig. D). This additional marking also allows for the precise dating of the pieces to the first two years of activity, 1896-1898. After this date, the internal mood of the company would change, and the little hands would disappear forever. Therefore, it is a sign of antiquity and accompanies pieces that are stylistically marked by an early naturalistic floral style.

Slightly later (1902) and not much different, still with predominance of light tones, is the production that features the name Fontebuoni alongside the pomegranate, marking the first relocation of the kiln. (fig. E)

Various markings with the San Lorenzo grid mark the chronological succession after the second relocation of the factory to Borgo San Lorenzo; the production of stoneware intensifies, the palette darkens, and exotic influences, which Galileo brings back from his trip to Siam, begin to merge in the stylistic orientation (though Galileo’s active participation declines from the second decade, and by 1925, he will permanently leave ceramics).

Certainly, there are still valuable examples, sometimes even highly impactful, in the later production under the artistic direction of Tito and Augusto Chini. However, not only did the personalities change, but the taste also shifted, and the Liberty style of vases with enveloping, sinuous shapes and dreamlike representations gave way to the compactness of forms, monochromes, and the rigor of Deco influences.

Another aspect to consider is rarity (of form or decoration). This criterion is a valid indicator of value and interest for any type of antique object, and it is not difficult to apply it to the collection of Chini ceramics. Since these are products of a small factory, not an industry, the “edition” of most of the models in multiples was very limited, and encountering the same subject is a rare occasion. However, as the saying goes, the merchandise “circulates,” and over the decades, through thematic exhibitions and publications, much of what was produced is known. What is considered rare today—particularly enticing for the collector—refers to an illustration still unknown, entirely unpublished.

A final parameter to evaluate is the size. In antiques, this holds significant value and can often cause the object’s worth to increase exponentially with its proportions. Very often—but not always—these are the most important pieces, sometimes with a representational function. This aspect of value can be added to or counterbalance the absence of other factors. A piece with monumental aspirations by the artist, even if painted in a later period, can therefore be much more significant than one from the early years. On the other hand, a small object, no matter how tiny, can be so perfectly crafted that it becomes a true gem.

Ultimately, while some basic evaluation principles must be followed, each object should be considered in its uniqueness, especially for the level of quality achieved. Often, a good criterion for me is to try to understand how closely the final result matched the creator’s aspiration; we must remember that the hidden artisan of every ceramic piece is fire, and its contribution is unpredictable to the artist. This is particularly true for the ceramic production of the Chini factory, which was not an industrial complex but a small artisan reality. In most cases, the artifacts are technically imperfect. Not only should this be accepted, but it should also be acknowledged that part of the fascination they exert lies in this imperfection.

Beyond incidental circumstances, prices can range from 800/1000 euros for a small, graceful stoneware piece, and from 2000 euros for a fine small majolica, rising to several tens of thousands for the most emblematic pieces.

Do fakes exist?

The attempt to counterfeit materials that have value to profit from is as old as mankind and certainly one of the worst scourges in the world of antiques. It is a constantly lurking risk, but the good news is that it is not equally practiced in all fields. There are historic manufactories whose products are technically quite easy to replicate, even with modern techniques. A sad example is the maiolica of Richard Ginori designed by Giò Ponti. A good antiquarian and a keen collector will certainly have the tools to discern their purchases, but this is not true for everyone and does not prevent the market from being flooded and forever tainted by this counterfeit and deceptive production.
This is not the case with the Chini manufactory!
In this case, it is a very complex artistic production to replicate, both in terms of form and decoration. In fact, all lustre production requires such technical expertise that it is inimitable; one could somewhat hastily say that if such craftsmanship existed easily, there would be another Chini manufactory (!).
The stylistic production that perhaps has a more easily replicable compositional scheme is the early one, not lustred, mainly characterized by the classic profile of a woman and floral elements.
However, this production is already 130 years old (which should be perceptible on an object), and not all decorators today, as skilled imitators, have Galileo’s hand, nor are today’s glazes the same as those from then.
I only once came across a counterfeit parade plate of this type with a famous decoration, marked with the pomegranate. It was completely new and had been introduced into the market with fraudulent intent. It did not gain traction, perhaps because it came too close to the wolf’s den; this case, of a ceramic commissioned in style and marked Chini, is frankly the only one I have encountered. However, on some other rare occasions, I have observed attempts to affix a Chini mark (cold and clumsily) on other Liberty-era ceramics, even non-Italian ones (Figures L, M).
In this case, recognizing the fake is relatively simple, as nothing really matches the original.

More insidious was a final case where I found the pomegranate impressed on a material pour that formed the new (double) bottom of the vase. A clever trick…
Although this list may seem intimidating, it is merely the experiential baggage of someone who, for almost 30 years, has passionately deepened their knowledge of this manufactory and had the good fortune to handle many pieces. As already mentioned, this glorious manufactory has not been subjected to serial counterfeiting, and most of the (few) examples on the market are entirely genuine.

For years, we have chosen maiolica pieces from private collections in our area to offer to our clients, and at our shop, we always have specimens worthy of attention.

Anyone wishing to discover them can find us at:

Expertise di Marzio Cinelli
Via Romana 138 rosso
50125 Florence