Doccia porcelain

[5] Ginori established the kilns at the foot of forested Monte Morello, whose timber fuelled them, and initiated experiments with local potting clays.

By 1740 Ginori was confident enough of his products to send samples to Vienna and get a privilege for porcelain manufacture in the Austrian-ruled Grand Duchy of Tuscany, giving him the security of a monopoly.

Ginori obtained wax models and casts from the heirs of major Florentine baroque sculptors Giovanni Battista Foggini and Massimiliano Soldani that were intended for casting in bronze,[8] and produced boldly-scaled porcelain figure groups “of a grandeur which makes the figures of most other C18 factories look petite and trifling,” John Fleming and Hugh Honour have observed.

[1] The early Doccia paste is gritty in texture and slightly grayish; its glaze less glossy than most contemporaneous European porcelains.

Ginori's manufacture was continued without a break by his three sons, who introduced a new, whiter body, with tin oxide[11] added to the glaze for increased whiteness, but were less successful in adapting neoclassical forms to the wares.

[12] Gio Ponti served as artistic director of the manufacture from 1923 to 1930, producing many designs in the Art Deco manner, and was succeeded by Giovanni Gariboldi, 1930–1970.

A deadline of May 2013 was set by the court to find a new buyer, hopefully one which would continue to maintain historic quality standards, operate the existing plant, employ its local workforce.

Bowl with painted relief decoration, c. 1760, hard-paste porcelain
This Massimiliano Soldani , Pietà , c. 1745, from a modello of 1711–13 is perhaps the largest early Doccia piece, over 3 feet wide, and moulded in 18 sections [ 1 ]
Part of tea-service, 1750s – the designs of playing naked boys are adapted from the print series Les jeux et plaisirs de l'enfance ("The games and pleasures of Childhood"), 1657, Paris, after Jacques Stella
Table Centerpiece, 1750s
Museo Richard Ginori della Manifattura di Doccia , closed as of 2019