State of conservation: biscuit firing cranny, breathing hole on the base and posterior hole maybe to be hung. Original support pin.
Modeled by Gaspare Bruschi
Carlo Ginori is represented with his wig and a big tie worn on a clothing fastened by a series of buttons; the bust is wrapped by a wide mantel, on which appears the mark of the Order of Saint Stephen (Order of Malta)
This porcelain is the oldest example, among (only two known) portraits of the founder (1); In this first example the color of porcelain is white tending to a mild green, a feature of the very first production. This stands for the great care devoted to modelling and for the vivacity of expression.
Elements such as wig curls waterfall or the elegant movement of the open tie to detect a button of the dress, Even the detailed description of facial imperfections, suggest assigning to Gaspare Bruschi, the active leader in the Doccia manufacture between 1737 and the death in 1780 (2), the modeling of this bust. An attribution that finds comfort in the most recent criticism: Ginori Lisci (4) also recalls the name of the chief modeler as the author of a bust of Carlo Ginori. In the other document about the busts of Carlo Ginori, the one contained in the Inventario dè Modelli of the manufacturing, cites: Un busto di terra cotta ritratto di S.E. Il Sig.re Sen.re Carlo Ginori (6).
The two known busts all present the Cross of Knight of St. Stephen, honor that Ginori receives in 1718 (7), and are, except for one, similar in clothing (varying the number of buttons and the treatment of the necktie): but if they mostly use white porcelain bases, certain signature of the later production, similar to those used for the famous Cesari series, in this one the base is made of gilded wood with in the center and in relief the Florentine lily. Ancient and destined from the beginning to the bust, is made of pear wood, the essence that Doccia used to make the bases in ebony wood (8).
It remains to be said how the physiognomy used for this portrait is found in paintings (the well-known portrait of Carlo Ginori attributed to Vincenzo Meucci (9)) and in the medals (10), and in the Doccia white porcelain recently attributed to Bruschi (11), slightly later for the different white pasta tending to gray.
1 They are the bust of Bruscoli collection published by Andreina d'Agliano in 2003 (study 1, p. 30 and following, see also for previous bibliography), the bust in private collection, Florence (ivi, fig. 1 , p.32), that at the Museo della Manifattura di Doccia (very similar to the present one), and the bust coupling with the portrait of Lorenzo Ginori already in the chapel of villa Ginori in Doccia (executed in 1791 commissioned by widow of the latter Francesca Lisci, and now in unknown ubication). The sixth portrait perhaps still of the seventeenth century, with a breastplate, instead derives from the commemorative marble of unknown author shaped in honour to Carlo Ginori in 1757 (AaVV 2006-2007, figg. 52, 53, p. 49): datable in 1760 ca.;
2 regarding Bruschi (Florence 1710-1780) see the latest Bellesi 2003, p.17;
3 d'Agliano 2003, study 1, p. 30 and following; the bust is very similar to this one both in dimentions and in the care of many details, from the mantel drapery here reduced in correspondence of the shoulders;
4 Ginori Lisci 1963, p.63
5 Lankheit 1982, p. 104: Sopra la sopradetta forma vi si trova la maschera di detto Sig.re Carlo Ginori... follows the quotation on the mask and the portrait of Lorenzo Ginori (Carlo’s son) whose bust is in some cases coupling with the father’s one (see above note 1)
6 page 5, nr.35 in Lankheit 1982, p. 104;
7 order founded in 1561 by Cosimo I dei Medici, first Granduke of Tuscany;
8 the bust is fully shaped also in the verso: shows an inventory number (10) now not traceable to any certain inventory but maybe in connection to the family collections before the re-organization in 1800;
9 published as latest in d'Agliano 2003, fig. 2 p. 33: Vincenzo Meucci (Florence 1604-1766) was the author of both easel paintings and frescoes; a derivated incision was made by Carlo Faucci;
10 The commemorative bronze medal of Carlo Ginori dated 1757 (Museo Nazionale del Bargello, inv. n. 7698), of which we also know a derivation. For both anonym medals there is an attribution to Giovanni Zanobio Weber (c. 1737-1806) a relative of the Weber employed in Doccia (d'Agliano, Winter 2003, study 2, p.34-35);
11d'Agliano, Winter 2003, study 2, p.34, 35).
Thanks to: Alessandro Biancalana, Oliva Rucellai, Luca Melegati, John Winter
L. Ginori Lisci, La porcellana di Doccia, Milan 1963;
C. Lehner-Jobst, A. d'Agliano curator, Baroque Luxury Porcelain: The manufacturies of Du Paquier in Vienna and of Carlo Ginori in Florence, exhibition catalogue, Wien, 2005 p.184, fig.3;;
K. Lankheit, Die Modellsammlung der Porzellanmanufaktur Doccia, Minuch,1982 ;
A. d'Agliano in Lucca e le porcellane della Manifattura Ginori, exhibition catalogue, Lucca 2001, study 50 p.117;
A. d'Agliano in J. Winter curator, Le statue del Marchese Ginori. Sculture in porcellana bianca di Doccia, exhibition catalogue, Florence, 2003;
A.d'Agliano, J. Winter in J. Winter curator, Le statue del Marchese Ginori. Sculture in porcellana bianca di Doccia, exhibition catalogue, Florence, 2003;
S. Bellesi in J. Winter curator, Le statue del Marchese Ginori. Sculture in porcellana bianca di Doccia, exhibition catalogue, Florence, 2003;
J. Winter in J. Winter curator, Le statue del Marchese Ginori. Sculture in porcellana bianca di Doccia, exhibition catalogue, Florence, 2003;
AaVv, Album Carlo Ginori, exhibition catalogue, Florence, 2006-2007.
Johann Kraftner, Baroque Luxury Porcelain, The Manufactories of du Paquier in Vienna and of Carlo Ginori in Florence, Vienna, Liechetenstein Museum, 2005, pp. 179-184, fig. 3.
Carlo Ginori, Porcellana bianca (secondo periodo), Busto da maschera funeraria, esposto a Vienna, Liechtenstein Museum, 2005
Carlo Ginori, White porcelain (2nd period type), Bust from a funeral mask, exhibited in Vienna, Liechtenstein Museum, 2005