Artist: Manifattura Ginori S.P.A.
Size: 53 x 56 cm
Museum: Biennale Internazionale dell'Antiquariato di Firenze (Florence, Italy)
Technique: Porcelain
State of conservation: biscuit firing cranny, breathing hole on the base and posterior hole maybe to be hung. Original support pin.Modeled by Gaspare BruschiCarlo 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.Notes1 They are the bust of Bruscoli collection published by Andreina d
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