Column and cistus in terracotta modeled in casting with reliefs of plant motifs in relief in shades of green and blue with gold trim. Both present the brand at the base: "Lavenia, 1250 - Made in Italy, SCI 29/36", late 20s.

Guido Andlovitz, just graduated in 1923 and was hired as an artistic consultant for the Italian Ceramics Society of Laveno (SCI) and a few years later, in 1927, he became its production manager and, with the collaboration of Piero De Ambrosis and technical director Antonio De Ambroggi starts a production that initially looks at French models and is subsequently influenced by German and Viennese schematics.

"And yet the beginnings of Andloviz's activity (I also like to call it that) in the ceramic field, in 1923, at the Italian Ceramics Society of Laveno, take place under a stylistic constellation across the Alps. The" sources "of Andloviz (as of Giò 'Ponti, coeval rival "at the competing manufacturer Richard Ginori) have been repeatedly identified by various scholars, connaisseurs, amateurs, from Paolo Portoghesi to Carla Cerutti to Mario Munari in the experience of the Wiener Werkstätte, by Dagobert Peche and Oskar Kaufman On the other hand, this fascination coming from an Austro-Hungarian area does not only characterize the 1920s and the "1925 Style" in our country. Firstly, as stated by Massimo Carrà, the Italian "Liberty", then in years very recent, it is declared a figurative phantasm, with the ceramic works of Dagobert Peche again and those of Michael Powolny for the Wiener and the Gmunder Keramik, for the Italian designers who experiment with vases in the Nuo operation Ceramica Nuove Tendentse goes. "

From "La Commedia Ceramica: Guido Andloviz in Laveno Mombello", curated by Enzo Biffi Gentili, Catalog of the exhibition at the Ceramics Museum, Laveno Mombello 23 October - 31 December 1993.