Ancient Maiolica Tray Giorgio Giacinto Rossetti Manufacture, circa 1737

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Ancient Maiolica Tray Giorgio Giacinto Rossetti Manufacture, circa 1737

About the Item

Oval tray Giorgio Giacinto Rossetti Manufacture Turin or Lodi, Circa 1737 High fire blue monochrome maiolica It measures: 12.12 in x 8.97 x 1.37 (30.8 cm x 22.8 x 3.5) It weighs: 1.38 lb (626 g) State of conservation: intact except for slight chips. This rare tray has an oval shape with a mixtilinear, polylobed edge, characterized by four introflexions at the cardinal points and a raised edge. The morphology, derived from common models of silverware, is present in both the Lodi and the Turin productions. The ornamentation, executed in cobalt blue on a thick, shiny glaze, shows some cut flowers, painted in a naturalistic style, scattered between the border and the well and accompanied by realistic insects, including a caterpillar. The rim is decorated with a minute motif of oriental inspiration with trellises to frame the unusual composition. This decoration known as deutsche Blumen, or German flowers, often referred to as "Dutch flowers" in factories, was conceived by the chief decorator of the Meissen factory and, like the "oriental flowers" or "Indian" decorations, became widespread in Europe. In Italy in particular, the version of this style whose decoration also included small insects is associated with Venetian manufactories, even if there are well-known services and works produced in Lodi, Milan and Turin. These works, however, were often in polychrome and always made clear reference to the iconographic repertoires provided by the engravings of the Remondini printing house. Among these engravings we also find botanical tables concerning insects. Our tray is attributable to the Rossetti manufacture, with the usual difficulty of defining the production area between the manufacturers of Lodi or Turin. A comparable example, especially pertinent for the shape and size, appears in a private collection. The presence of botanical tables relating to both flowers and insects in all contemporary manufactures in Northern Italy, in fact, does not facilitate the attribution to a particular manufacture. In Lodi the “naturalistic” floral decorations are represented in some plates of Antonio Ferretti's manufacture with depictions of fish along with simple or associated cut flowers. The Turin manufactures, in turn, in keeping with this decorative taste, produced few and rare works with flowers, including polychrome and naturalistic ones. On the other hand, Giorgio Giacinto Rossetti worked and produced works in cobalt blue, in both cities. This variant, in blue monochrome, comes close to the products from the Venetian manufacture of Antonibon, by which the quality of the Lombard and Piedmontese manufactures were often measured. The morphology of this tray, however, is so close to the taste of France that it brings us back to the "Rossettiana" production period, that is to say, the period between the thirties and sixties of the eighteenth century. It was probably produced for a particularly refined client. The maiolica and porcelain factories of the eighteenth century belonged mainly to the great royal families or to the noble families who made the manufacture of ceramic works a motif of prestige. (Secondo me possiamo anche togliere questa frase. Il testo scorre anche senza.) At the dawn of the eighteenth century, the fashion for maiolica had taken hold throughout Europe. Even the Savoy princes, after an initial and enthusiastic importation of French maiolica works from Rouen and Nevers, where the factories were numerous and particularly active, turned their attention to the first Italian productions "alla Berain" of the manufactories of Lodi. Eventually they began promoting the manufacturing plant in Turin by granting patent rights to the Rossetti family in 1725. Giovanni Battista Rossetti, the progenitor, had his own ceramic business in Lodi and, in about 1728, even the most well-known nephew Giorgio Giacinto was already the owner of another factory in Lodi. However, in 1725, with the endorsement of Giovanni Battista, now an elderly man, Giorgio Giacinto received a production license in Turin. Actually, the existence of works signed and dated in his name between 1729 and 1736 with clear reference to the city of Lodi, and the lack, in fact, of documents attesting to the Turin activity in that period, suggest that the Rossetti still belonged to Lombard manufactures. The Savoy manufacture had in fact been taken over, in 1728, by the banker Pietro Bistorto, and it is believed that the business was still being driven, in any case, by the Rossetti family. The return to Turin of Giorgio Giacinto is attested only after 1733, and in 1737 the manufacture, equipped with new facilities, resumed production. It was also enriched with a royal patent for the production of porcelain with the collaboration of the German arcanist Jakob Helchis. Bibliography: V. Viale, Mostra del barocco Piemontese, III, 1963; F. Ferrari, La ceramica di Lodi, 2003 V. Brosio, Rossetti Vische, Vinovo, porcellane e maioliche torinesi del settecento, Milano 1973; M. Infelise, La famiglia, in R. Un editore del Settecento, a cura di M. Infelise - P. Marini, Milano 1990; L. Carnelos, I libri da risma. Catalogo delle edizioni R. a larga diffusione (1650-1850), Milano 2008.

Attributed to:
Giorgio Giacinto Rossetti (Manufacturer)
Dimensions:
Height: 1.38 in (3.5 cm)Width: 12.13 in (30.8 cm)Depth: 8.98 in (22.8 cm)
Style:
Baroque (Of the Period)
Materials and Techniques:
Maiolica,Glazed
Place of Origin:
Italy
Period:
1730-1739
Date of Manufacture:
circa 1737
Condition:
Intact except for slight chips.
Seller Location:
Milano, IT
Reference Number:
1stDibs: LU4352230229672