| Bibliographic references | - Hildyard, Robin. European Ceramics. London : V&A Publications, 1999. 144 p., ill. ISBN 185177260X
- Kräftner, J. Baroque Luxury Porcelain: The Manufacturers of Du Paquier in Vienna and of Carlo Ginori in Florence , Liechtenstein Museum, 2005, p.342
- Mallet, J.V.G.. Transfer printing in Italy and England. Transactions of the English Ceramic Circle, 2011, vol. 22, pp. 89-115. Illustrated plates 15-16 ' Teapot, hard-paste porcelain, transfer-printed and retouched manually in underglaze blue with children's games after Jacques Stella, the cover decorated in underglaze blue by a stencil technique. Doccia, Ginori factory, c 1750-52 or slightly later.'
- Frescobaldi Malenchini, Livia ed. With Balleri, Rita and Rucellai, Oliva, ‘Amici di Doccia Quaderni, Numero VII, 2013, The Victoria and Albert Museum Collection’, Edizioni Polistampa, Firenze, 2014
pp. 51-52, Cat. 27
27. Teapot with transfer-printed
playing children
1750-1753
hard-paste porcelain painted in monochrome
blue
h 16,5 cm
no mark
inv. C.407&A-1928
purchase: H. Read Collection sale, £ 6
Teapot with “puttini blau” or blue cherubs (AGL, I, 2, f. 37, Fabbrica delle Porcellane di Doccia. Scritture e Documenti, fasc. 6) in monochrome underglaze blue decorated “a stampa”, a technique also called “a riporto” (BONDI 1971, p. 38-41). The objects that were decorated using this technique were touched up by hand; the cover of the teapot was painted using a “stampino” or stencil. Both techniques were being used at Doccia in this era as is demonstrated by the teapot and by a coffee pot in the Museo di Doccia (MALLET 2013, p. 21, fig. 20-21). The inventories list numerous cups with this kind of decoration, for example “516 cups with blue cherubs”, whereas we know of only two teapots and coffee pots (AGL, I, 2, f. 37, Fabbrica delle Porcellane di Doccia. Scritture e Documenti, fasc. 6). The decoration with the blue puttini or cherubs is based on the engravings by Claudine Bouzonnet-Stella, inspired by the designs of his famous uncle the Lyonnais painter Jacques Stella, taken from Les Jeux et les Plaisirs de l’Enfance. The technique called “a riporto” can be considered an early version of the transfer printing that was widely used by British factories starting in 1756 and consists of the transfer of a decoration which has been engraved on a copper plate to the surface of the porcelain. It seems very likely that, at Doccia, when they use the term “a stampa”, they were referring to both stencilled motifs and transfer printing which was being used from about 1749 to 1753 (BIANCALANA 2009, p. 147-148; MALLET 2011, p. 89-115; MALLET 2013, p. 17-26). This hypothesis is also supported by a letter that Carlo Ginori wrote to Jacopo Fanciullacci on December 16th 1750, which seems to refer to a new kind of printing that was different from the one then being used: “Maier can continue to make other copper plates of the same size and, in the mean time, we shall wait to see how the print has turned out on the Plate and the Tray” (AGL, XV, 2, f. 137, Manifattura di Doccia. Documenti vari, I, c. 938v). Besides a certain number of plates, two teapots and a coffee pot, a pail and the inside of a snuff box, there is also a small rectangular tray decorated in this manner (BIANCALANA 2009, p. 148;MALLET 2011, p. 99, fig. 23; MALLET 2013, p. 17-18, 20-24, fig. 13-26).
A.B.
Bibliography: LANE 1954, plate 45A; LANE 1963,
fig. 103; GINORI LISCI 1963, p. 28, fig. 7; CHARLES
1981, p. 230, fig. 652; BONDI 1971, plate XIIa;
HILDYARD 1999, plate 126; A. d’Agliano, in
BAROCKER LUXUS PORZELLAN 2005, p. 342, cat. 186;
MALLET 2011, p. 96, fig. 15-16; MALLET 2013, p.
18, fig. 15-16
- Passion for Porcelain: masterpieces of ceramics from the British Museum and the Victoria and Albert Museum.
p.183
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