About the object
This week, we’re captivated by a luxurious 16th‑century Italian maiolica jar from the Hunt Collection — a stunning example of tin‑glazed pottery at the height of its fashion.
This Tuscan jar, possibly made in Pistoia in the 16th or 17th century, is hand‑glazed in a rich yellow hue. Its body and neck are meticulously scaled to mimic a pineapple’s texture, while a pair of elegant, twisted handles adds both balance and flourish. Although the foot and rim bear careful plaster repairs, the vase’s charm remains undiminished.
Our archive file reveals fascinating backstory:
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A photocopied information card and image, though undated, anchor the vase in historic decorative‑arts traditions.
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Timothy Wilson’s object comment sheet notes that “many similar things [were] made in Deruta,” and suggests it “may not be Italian and may not be tin‑glazed.”
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A 1937 entry in Catalogue de la Collection Pisa (Milan: Società Anonima Leonardo) confirms and illustrates this very vase among other pineapple motifs of the era.
Historical relevance of the pineapple
Originally a display of wealth and status, maiolica (also known as faience, talavera, or delftware, depending on the region) became the perfect vessel for Europe’s exotic obsession: the pineapple. After word spread that Ferdinand II of Aragon favoured the fruit, it earned grand titles like ‘King of Fruits’ and ‘King Pine.’
From the late Renaissance through the 18th century, Europe fell head over heels for the pineapple. Wealthy patrons vied to grow, rent, and display them, even as rental businesses sprang up to meet the demand. By the 19th century, the pineapple motif adorned everything from architecture and furniture to fashion and ceramics—an enduring symbol of hospitality and prestige.
As trade routes expanded, the pineapple went from rare curiosity to common motif, and our jar stands as a testament to that journey—from royal favor to everyday delight.
