Carlo Giacinto di and the Rossetti porcelain factory in Torino (1737-1748)

Andreina D’Agliano Independent Curator and Art Historian, Torino

84 In the late XVII century was an international city favourite of Anna d Orléans was built which had diplomatic and dynastic relationships with the at the beginning of the XVII century by Ascanio Vitozzi most important European capitals: in fact the niece of (1539-1615) and completed by Carlo di Louis XIV (1638-1715), Anna Maria d’Orléans (1669- (1560-1640) and (1613-1683). 1728), daughter of Philippe d’Orléans (1640-1701), The interiors were refurbished between 1732 and 1735 founder of the St Cloud porcelain factory, married in under the direction of Juvarra. (1) 1684 Vittorio Amedeo II (166-1732), Duke of Savoy. After the treaty of Utrecht in 1713, Vittorio Amedeo was The decoration of the interiors, due to Pietro Massa (2), named King of Sicily and in 1720 King of Sardinia: this reflects the predominating taste for chinoiserie: the upgrade of the Savoy dynasty needed an artistic and Kuan Yin scagliola figures (fig 1), made by a Piemontese architectural reorganization of the capital, Turin. The laboratory as well as the stucco and pastiglia decoration task was commissioned to the Sicilian architect Filippo of the King’s cabinet assigned to artists from Tessin and Juvarra (1678-1736), who, having lived in Turin since to the Piemontese decorator Giovanni Maria Andreoli, Figure 1. Villa della Regina. Interior with decoration by Pietro 1714, would have been responsible for the refurbishing reflect the interest for Chinese Dehua porcelain which Massa (1732-1735) of numerous residences, among which the most was collected either by the Court as well as by the

85 preeminent local families (3). The Court’s strong taste for porcelain is also evident from different payments registered between 1715-17 for blue cups for chocolate arriving from China as well as four pagoda figures, bought in 1730 for the Villa della Regina (4).

The good diplomatic relationship between Augustus the Strong (1670-1733) and Vittorio Amedeo II was fundamental for the arrival in Turin of diplomatic gifts of Meissen porcelain: in 1725 twelve cases with ca. 300 pieces were sent to Torino (5). Among these were five garnitures and nine breakfast services, two small table services and two vases.

A cup and saucer with the coat of arms of Vittorio Amedeo of Sardinia, painted by J.G. Hoeroldt and part Figure 2a and b. Meissen, of a breakfast service, which today is kept at the Museo Vases and cover, 1715, part of the garniture originally in the Civico of Palazzo Madama in Turin and two vases, still in collection of Vittorio Amedeo II the royal palace in Turin, are part of the original garniture of Sardinia a) Private Collection Zerilli de cheminée in seven pieces designed by R. Leplat and Marimo produced in Boettger porcelain (6) (fig 2). b)Torino Palazzo Reale

86 In the interest in porcelain was But the real innovation of the ceramic output in Torino not only high at the Savoy court, but many is due to the personal interest of Carlo Giacinto Roero aristocratic families collected Meissen as di Guarene (fig 4), an enlightened aristocrat who in the well as Du Paquier porcelain, although the spring of 1727 stipulated a “scrittura di associamento”with main acquisitions in the first thirty years of Giovan Battista Rossetti, brother of Giacinto, and with the XVIII century remained that of Chinese Ludovico Roveda (10). export ware (7). In the following year 1728, Roero di Guarene acquired The political and cultural situation would the factory through a nominal head, the banker Pietro have presumed the existence of a porcelain Bistorto(11) as Piemontese conventions didn’t accept an factory, but at the end of the reign of Vittorio aristocrat dealing with a commercial enterprise: a big Amedeo II (1732) no porcelain was produced in difference from the beginning of the factory of Carlo Turin. On the other hand, the maiolica production had Ginori in , where the owner had important duties already begun with the the Regio Parco manufactory at the Tuscan court and was highly appreciated for his which had started working in 1646 thanks to an enterprise(12). authorization of the Duke Carlo Emanuele II (8). As soon as he became the factory owner, the Count of A regular production of maiolica in Turin was started by Guarene built a new factory in Turin in Vigna , on Figure 3. Rossetti Maiolica Giorgio Rossetti of Cavour and his nephew Gio Battista the other side of the river Po beside the Villa della Regina. factory,1736, Dish with di , who in 1725 received the royal privileges and In 1735, Guarene wrote to Giorgio Giacinto Rossetti, who mythological decoration, Sèvres Musée National de la Cèramique activated them in 1726 having received a loan of 8,000 in the meanwhile had gone to Lodi and asked him to come liras. They decided to produce maiolica in Chinese taste back to Torino. Rossetti returned in 1736 and in April of Figure 4. M. Van Meyetens Giacinto Roero di Guarene, at the same price as in Savona and adopted the blue the same year the count of Guarene wrote a document in 1728 ca underglaze mark TR (Torino Rossetti) (9) (fig 3). favour of Pietro Bistorto, in which he relieved him of any

87 economic responsibility for the maiolica factory (13). The production which most interested the Count of Guarene was that of porcelain: so in September 1736 he stipulated an agreement with Antonio Billotto and Giorgio Giacinto Rossetti and the following year, on the 21st of June 1737, the King Carlo Emauele III granted to the new porcelain factory the same privileges as to the maiolica factory.

In the first week of July we find details for the purchase of a small porcelain furnace (fig 5) and, as we can see from the documents, the same workers were employed for both maiolica and porcelain production: among the most well known artists mentioned were Giovanni and Pasquale Rubati, who, a few years later transferred to Milano with Giorgio Giacinto Rossetti, who was the first of the painters (14).

As already pointed out, the main porcelain collections in Turin at the beginning of the XVIII century were of Chinese porcelain from Dehua and Carlo Giacinto Roero di Guarene had himself been a great collector of Chinese as well as of Japanese porcelain. Different

Figure 5.

Figure 6a and b. ossetti, 1737- 1742: Cup in soft paste porcelain, Torino, Museo Civico Palazzo Madama

88 Kuan Yin figures still in his collection today, have been used as prototypes and inspiration for the models of the Rossetti factory. A payment of July 1737 quotes “models acquired from Conte di Guarene” and Pagode were indicated in both inventories, of 1738 and 1742 (15).

Chemical analysis made in Turin’s University on a few marked examples kept in the Museo Civico of Palazzo Madama (16) points out that figures made by the Rossetti factory are of soft paste porcelain, with an abundance of silicon (Silicion) tin and lead, totally different from the hard paste of Vezzi, Du Paquier and Doccia porcelain, to which some of the Rossetti objects had already been assigned. This kind of composition, already mistaken for maiolica, is traceable on two small busts marked with an incised Savoy cross identified as Rossetti porcelain by Vittorio Viale in 1948. The mark Torino in underglaze blue and GR incised in the paste also occur. Also a cup, painted in cobalt blue on a white ground, marked TR in underglaze blue and identified by Silvana Pettenati, belongs to the few objects which could be assigned with security to the Rossetti porcelain factory (fig 6)(17) .

Figure 7. Rossetti, Kuan –Yin Soft paste porcelain, Zerilli Marimo Collection

89 To these already known objects we can add today a figure of Kuan Yin in soft paste porcelain, marked with the inscription Torino in underglaze blue and two incised capital FF, acquired by the British Museum in 1987 (18): this statuette is identical to another one, traced in the Zerilli Marimò collection and marked with a double rhomboidal mark which resembles the Savoy cross (fig 7). Both examples are very similar to a third figure of Kuan Yin, unmarked, which was originally in the Roero di Guarene Collection. These comparisons enable us to assign for the first time to the Turinese factory different figures of orientals (19). However, the most astonishing discovery has been the figure of a Magot in a private collection, representing the monk Budai Ho Shang (fig 8): the porcelain is a sort of hybrid paste, soft, very thick and with a lead varnish with numerous bubbles and firing imperfections. The mark Torino in underglaze blue is the same as the one which appears on the busts at the Museo Civico of Turin, published by Viale in 1948, which enables us to assign to Figure 8. Rossetti, Figure of Rossetti two other unmarked Budai white figures which Bu-dai 1737-1742 ca. Soft paste had been previously given to other Italian manufactories porcelain. (fig 9)(20) . Private collection Figure 9. Rossetti, Figure of The chemical experiments also allow us to assign to Bu-dai ,Torino, Museo di Arti Decorative Accorsi-Ometto Rossetti the vase in Palazzo Madama (fig 10), previously attributed to the Vezzi factory: the similarity of the paste Figure 10. Manifattura Rossetti, vase and cover, soft paste and glaze, with a great abundance of silicon, modest porcelain,Turin, Museo Civico- presence of aluminium, lead and tin in small quantities Palazzo Madama

90 have nothing to do with the composition of Vezzi but is a soft paste porcelain similar in composition to the one of the Rossetti busts at the Palazzo. Madama (21).

From inventory notes of 1738 we gather that Rossetti produced not only white porcelain, but also had experience in the use of red and gold: it is important to note that in these first archival references there Is no mention of the purple colour which – on the contrary-is mentioned in the final inventory of 1742, before the factory had been sold to the Billotto brothers (22).

As already documented by Morazzoni in his work of 1935 (23), Giorgio Giacinto Rossetti travelled in 1740 to Paris, Vienna and to improve his technique and knowledge. Unfortunately the documents consulted by Morazzoni have disappeared from the Turin Archives, however, new information has been brought to light through the research carried out in Vienna by Claudia Lehner Jobst and the information from Michelangelo’s Schipa book of 1905: Lehner Jobst found out that, thanks to the intervention of the Ambassador of the King of Sardinia in Vienna, Count Luigi Gerolamo Malabaila di Canale (1704-1773), two archanists and collaborators of Du Paquier had travelled to Turin in great secrecy. Lehner Jobst believes that in 1741, Anton Magner and Jacob Helchis left Vienna and reached Turin at the same time as the painting collection of Prinz Eugen of Savoy (1663-1736), which had been transferred from Vienna to Turin on the order of Carlo Emanuele III of Sardinia (1701-1773) and escorted by the painter Adam Wehrlin (24). In fact, the Viennese “arcanists“ are never directly mentioned by name, but “arena all ‘uso di Vienna“ (clay in the use of Vienna) is mentioned in the list made in 1742 before the factory had been sold to the Billotto brothers (25). In the same year 1742, in September, Helchis writes a letter from Turin to Tommaso Boldoni, charged by King Charles of Bourbon (1716-1788) to bring to the Viennese archanists (26): all this proves the presence in Turin of the archanists Magner and Helchis between 1741 and September 1742 (27).

Thanks to the collaboration with Viennese archanists, the Rossetti manufactory had been able to produce four categories of porcelain, the less expensive being the blue and white and the most precious the one painted in purple and red in combination with gold. It is interesting to read that the factory used two kinds of red - one made by Rossetti (composto da me) and another one including Figure 11. Rossetti 1737-1748 (attributed to) Vase, The British “purple and red arriving from Venice“ as well as gold Museum from Milano (28).

91 In this part of the article we will try to identify those porcelains which, according to the inventories , were painted “with red, purple and gold”, a style which could be identified with that of the Hausmaler Jacob Helchis (29). To his hand are attributed two Du Paquier vases with lids, one in the British Museum and the other one in Vienna, at the museum fuer Angewandte Kunst (29). A similar decoration, which also presents some points in common with that of the Hausmaler Johann Friedrich

Metzch, occur on a vase painted with a monochrome Figure 12. view and a frieze with trophies, polycrhome flowers and a) Rossetti, 1737-1742 Sugar bowl leaves, today in the British Museum in London (30) (fig 11). and cover, soft paste porcelain, , Lukacs-Donat Collection. Figure 13. The vase is covered with tin glaze and is marked with the b) Rossetti 1737-1742, Two cups, a) Rossetti, 1737-1748 teapot and initials TR in gold, very similar to the ones on a cup in soft paste porcelain, Turin, Museo cover, Giovanni Lokar coll.Trieste. Civico d’Arte Antica, Palazzo Rossetti 1737-1748 ca: Vase, (31) b) Rossetti maiolica published by S Pettenati . Madama The British Museum

92 In effect the vase, although missing its lid, has a typical Northern Italian shape, although the decoration resembles very much that of J Helchis. Stylistically, we can individuate a link with the prints of Johann Jacob Riedinger which have been a source for Helchis for the service in Du Paquier porcelain made for the Duke Antonio Tolomeo Trivulzio, governor of Lodi from 1731. Giorgio Giacinto Rossetti was in fact working in Lodi at that time (32).

The stylistic similarities with the Rossetti vase in the British Museum have permitted us to attribute also to Rossetti two cups in the Civico Museo of Turin and a sugar bowl with lid presently in the Lukacs collection: all these objects are in soft paste porcelain and have (fig 12) a similarity with the monochrome decoration on the vase in the British Museum. This comparison also enables us to attribute to Rossetti a teapot previously attributed to Du Paquier (fig 13): looking at it carefully, one identifies a similar iconography (the male and female deer) but also a naivety and a symmetry of motives which are not common in the Du Paquier factory. This attribution has been reinforced by a jug in soft paste porcelain, kindly pointed out to me by Errol Manners, already known as Chantilly, painted with some tin glaze and a large quantity of silicon (33). The detail of the leaf painting on the vase and its palette bring to mind some devices of Figure 14. Rossetti, 1737-1782: a) Teapot ,Giovanni Lokar the early production of the Milanese Clerici maiolica Collection Trieste factory but what is most interesting is the subjects on the b-c) Rossetti ( 1737-1748) Jug (London Errol Manners Collection) jug as on the red painted teapot are the same (fig 14).

93 Although many new experiments had been carried out, the porcelain production was not prosperous and on the 4th of April 1743 the factory was sold to the BIllotto brothers. From this date onwards, the Count of Guarene was not the owner of the Rossetti factory, which continued for another five years: in 1748 the porcelain production stopped officially in Torino, and only private painting ateliers continued (34).

From research published by Raffaella Ausenda and Piero Romanello, we know that the painter Pasquale Rubati was documented with his father Giovanni at the Rossetti manufactory until at least 1740. In 1744 Rubati was still in Torino but we don’t know whether he was with Rossetti or was already an independent ceramic painter. He is documented as working and active in Milano for Felice Clerici in 1746; in fact Ausenda had already pointed out in her publications that the similarity in the painting between Rossetti and early Clerici maiolica makes it rather difficult to procede to a secure attribution (35).

If we compare the decoration on some pieces of maiolica attributed to Clerici /Rossetti and the decoration on two cups in a private collection (36) and a vase, all in soft paste porcelain (36) (fig 15), we find various points in common with the Clerici early production; the leaf decoration on these cups and the vase are not only identical in shape, but some chinoiserie figures occur on both Rossetti porcelain and Clerici maiolica.

Evidently the fact that the painter Pasquale Rubati had been active either for Rossetti in Torino and a few years later for Clerici in Milano makes this similarity possible. Therefore, going back to the fact that the Rossetti vase in the British Museum as well as a Figure 15. Rossetti( 1737-1748) maiolica cup published vase and cover, soft paste by Pettenati (37) bear an porcelain. Private Collection Rossetti (?) 1737-1748 Two cups, over glaze mark, I thought Private Collection

94 that we might conclude that some of the Rossetti production might have been painted after the Count of Guarene had sold the factory. The porcelain painters, like Pasquale Rubati, might have taken some pieces with them, first to their ateliers in Turin and then, like Rubati, probably also to Milano.

In conclusion, we can write that the porcelain production of the Rossetti factory included four categories as stated in the inventories of June 1742, before the factory had been sold to the brothers Billotto (38).

1) The statuettes in soft white porcelain representing oriental pagodas and Kuan Yins.

2) Cups and saucers in blue and white, like the cup today in Palazzo Madama in Turin.

3) Vessels painted in black, purple and red monochrome with gilded edges and scrollworks, made between 1741 and 1743, in the manner introduced in the Figure 16. North Italian (Rossetti?) Vase with cover, soft factory by Helchis and Magner. paste porcelain. Errol Manners Collection. Porcelain most probably produced by Rossetti and Rossetti (1737-1748?), Two cups , 4) Private collection. shared among the decorators after the factory’s closure: these pieces could have been painted either by Giorgio Giacinto Rossetti or by Pasquale Rubati, after the factory had been sold to Billotto.

In conclusion, a question could also arise regarding the overglaze TR mark - is it meant to be Torino Rossetti or could it eventually also be Torino Rubati?

New research ought to be carried out since two other objects in soft paste porcelain turned up - a vase with lid in the Errrol Manners collection (fig 16) typically North Italian in shape and painted with gilded chinoiseries very similar to those on the Clerici maiolica production. The same origin might be possible for the wonderful magot in soft paste porcelain, today at the Villa Cagnola (39), still with uncertain attribution, which repeats a well known Clerici maiolica model and reflects an order of taste which seems to be typical of North Italian ceramic production.

95 This article refers to the exhibiton La Porcellana in Piemonte (1737-1825) Le 10 The contract dates 29 of April 1727 “scrittura di amministrazione ossia manifatture Rossetti, , held at the Museo di Arti Decorative Accorsi associamento del sig. Conte di Guarene cogli impresari Roveda e Rossetti -Ometto 29th of January 2015 -24th of June 2015 (catalogue by Andreina d concernenti la fabbrica della maiolica (Archivio del Castello di Guarene( ACG) Agliano and Cristina Maritano, ed. Silvana Editoriale, Cinisello Balsamo 2015). Fabbrica di Maiolica, Titoli e Scritture,cat 59, Fascicolo 748 and d’Agliano in Turin 2015, note 22 My particular gratitude goes to Umberta Boetti Villanis, for allowing the consultation of the archives of the Castle of Guarene, which enabled to throw Giacinto Roero di Guarene (1675-1749)was a typical enlightened personality: new light on the Rossetti porcelain factory. My best thanks also to Errol Manners, musician, militarian and architect, he was a friend of who Aileen Dawson, Giles Ellwood, Cristina Maritano, Raffaella Ausenda and to the dedicated to him a drawing album (for news on Roero di Guarene, d’Agliano French Porcelain Society for supporting this research. The British Museum, in Turin 2015, pp.52-53 and R. Antonetto, Guarene. Un castello nella storia, Massimo Soncini, Luca Mana for their help and for allowing publication of photos. Torino 2006). 1 For Villa della Regina, see the publication of L. Caterina, C. Mossetti, Villa della 11 See d’Agliano, in Turin 2015 p.55 and note 25: ACG, Fabbrica di Maiolica, Regina.Il riflesso dell’Oriente nel Piemonte del Seicento,Torino, 2005 Titoli e Scritture, cat 59, Fascicolo 748, 3 ottobre 1728: “Nelle suddette patenti prestò il signor Bistorto il semplice e puro nome come fu dichiarato da scritture.” 2 For the chinoiserie in Piemonte F. Morena Fragili Esotismi: la cineseria nel Piemonte del Settecento, in exhibition catalogue La porcellana in Piemonte 12 On Carlo Ginori, see L. Ginori Lisci La porcellana di Doccia, Milano 1963; (1737-1825) Le manifatture Rossetti, Vische; Vinovo.Turin, Museo di Arti A. Biancalana La manifattura dei marchesi Ginori a Doccia. I primi cento anni Decorative Accorsi-Ometto, 29 .1.2015- 24 -6.2015 catalogue Cinisello Firenze 2009¸ and A. d’Agliano, Die Gruendung der Manufaktur Doccia. Ihre Balsamo, 2015 pp.31-35 Umsetzung der Wiener Palette, Ornamente und Graphischen Vorlagen in J. Kraeftner, Barocker Luxus Porzellan. Die Manufakturen von Du Paquier in Wien 3 For porcelain collection in Piemonte, see C. Maritano Mercato e collezionismo und Carlo Ginori in Florenz, exhibition catalog, Vienna, Liechtenstein Museum, della porcellana a Torino fra Sette e Ottocento, in cat Turin 2015, pp.37-43 10 .11. 2005-29.12006, pp 76-93 4 See A. d’Agliano, Arcanum e imprenditoria in Piemonte: Giacinto Roero di 13 See d’Agliano in Turin 2015, p.55 note 27-230; Antonetto 2006, pp.269-271; Guarene e la porcellana della manifattura Rossetti (circa 1737-1748) in cat Turin Graffione 2011 op. cit p.202 2015, pp.52-67 14 Three artist who were active for Rossetti , the painters Pasquale Rubati 5 For the gift of Augustus the Strong to Vittorio Amedeo of Sardinia, see and Carlo Franco as well as the turner Giacomo Taberna will be active for M. Cassidy Geiger, Princes and Porcelain on the Grand Tour of , in Fragile the Milanese Clerici factory (see R. Ausenda, Mercanti cinesi a gran fuoco. Diplomacy: Meissen porcelain for European Courts, cat of the exhibition, New Un bellissimo piatto della manifattura Rossetti, in “Ceramicantica”, 2, 112, XI, York, Bard Graduate Center for Studies in the Decorative Arts Design and 2001,pp.12-21 Culture, 15-11.2007-10.02.2008, pp 209-210, and appendix pp. 327-331 15 D’Agliano, in Turin 2015 p.57-58 and Appendix, p.69. See also AGC, Fabbrica 6 A. d’Agliano, European Porcelain from the Zerilli - Marimò Collection. Porcellane di Maiolica, Titoli e Scritture, cat.59, Fascicolo 748. The list, without date, is europee dalla collezione Zerilli - Marimò, Milano 2014, pp.50-53 and related kept among papers of 1738. “Effetti spettanti alla Fabbrica delle Porcellane. bibliography Nota ossia inventario di tutti li mobili edifici paste vernici colori e altro che si è 7 See d’Agliano, 2015, op. cit ritrovato di fondo del residuo delle prove fatte da Giorgio Giacinto Rossetti circa alle prove per le porcellane” The other inventory was made on the 30th of 8 For the Regio Parco maiolica factory R. Ausenda “Terre genovesi”, in “Guido June 1740, before the factory was sold to the Billotto brothers Fabris e la maiolica torinese del Seicento”, pp. 111-122, Genova 2011. J. Mallet Transfer Printing in Italy and England in Transactions of the English Ceramic 16 On this argument see d’Agliano in Turin 2015 p. 59 and P. Davit, F. Turco, Circle, vol. 22, 2011 L.Operti ,G. Fenoglio , A. Agostino Caratterizzazione chimica delle manifatture piemontesi di porcellana del XVIII secolo, in Turin 2015, pp.148-153 9 For the Rossetti maiolica factory see Ornella Graffione, Le Manifatture Rossetti e Ardizzone: alcune precisazioni storiche e una prima indagine sulle fonti 17 See Turin 2015, cat nr 10 a &b and nr 11; V. Viale Porcellane della Fabbrica iconografiche in “Palazzo Madama.Studi e notizie”, 2, 2011(2012) pp.202-213 Rossetti di Torino in “Faenza” 4-6, 1948, pp 118-119; S. Pettenati La production and related bibliography de céramiques dans les Etats de la Maison de Savoie, in M. Di Macco-P. Astrua, “Batir une ville au siècle des lumieres. Carouge: modele et réalité, exhibition catalogue (Carouge 29.5.1986-30.9.1986) pp. 622-628

96 18 See A. Dawson Eighteenth Century Italian porcelain from the British Museum 28 D’Agliano in Turin 2015, Appendix, p.70 from Florence, Venice, Naples and Rome in Amici di Doccia. Quaderni 5, 29 London, British Museum, Inv 1930.0714.1 CR; Vienna, Museum fuer 2011(2012) pp. 64-81 Angewandte Kunst, Inv Ke 6954 M.CHilton - C.Lehner Jobst, Fired for Passion, 19 See A. d’Agliano, 2014, p.268 n 89 and d’Agliano, Turin 2015 nn 3-6; two Vienna baroque porcelain of Claudius Innocentius Du Paquier, Stuttgart, vol III nn statuettes in white soft porcelain, representing chinese dignitaries, today in the 286-287 and related bibliography Philadelphia Museum of Art, a gift of Mrs Morris Hawkes (Inv 1942-59.42,43 30 D’Agliano in Turin 2015, pp62-63 and fig 9 p. 61 also belong to the Rossetti porcelain factory( d’Agliano in Turin 2015, fig 6-7 pp.59). I’m thankful to Errol Manners and Donna Corbin for sharing with me 31 The vase, with evident traces of tin glaze, had been acquired by Sir Augustus this notice. Wollaston Franks in 1897 (London, British Museum, inv. AF3185) See also Pettenati, 1986 op. cit 20 See cat Turin 2015, nn 7-9; I’m thankful to Cristina Maritano for having pointed out this object to me. Recently, an identical figure in maiolica has 32 The Duke Antonio Tolomeo Gallio Trivulzio (16??-1766) had been Governor come out on the market (Paris, Pescheteau Badin 9-10 of June 2015 lot227) of Lodi from 1731 and it is probable that Giorgio Giacinto Rossetti had known this Du Paquier service. See also G. Zelleke, in Chilton-Lehner-Jobst 21 See Turin 2015, n 12, Torino, Palazzo Madama, Museo Civico d’Arte Antica, Inv. 2009, III, p. 1276, nn 235-237 2260/C 33 See Turin 2015, nn 15-18 The Rossetti manufactory has among its 22 See d’Agliano in Turin 2015, Appendix pp.69-71: AGC, Fabbrica di Maiolica, iconographic sources the prints of Elias Ridinger (1698-1767). Titoli e Scritture, cat 59,fascicolo 748, 30 giugno 1742: Inventario della Porcellana Terza categoria alquanto più fine, buone e resistenti, parte dipinte alla 34 D’Agliano in Turin 2015 p.62 and AGC, Fabbrica di majolica,Titoli e Scritture, chinesa con rosso, e porpora e altri coloreti (:::) cat 59, fascicolo 748 “Il Signor Conte farà la vendita al Signor Carlo Giuseppe Quarta categoria di tazze e tondini con oro.. Bilot della fabbrica in cuisi lavorano maioliche e porcellane...”

23 See G. Morazzoni Le porcellane italiane, Milano-Roma 1935,pp.194-196 35 Pasquale Rubati married in Turin in 1744. See R. Ausenda Maioliche settecentesche. Milano e altre fabbriche. Ceramiche della collezione Gianetti, III, 24) C. Lehner-Jobst “Primo fra i virtuosi”. Da Vienna a Torino: Jacob Helchis e il Saronno 1996 p.114 e P. Romanello, Contributo alla conoscenza della storia suo sodale in Cat.Turin 2015, pp.45-51 .M. Schipa, Il Regno di Napoli al tempo della ceramica torinese, in Atti XVII convegno internazionale della ceramica.Temi di Carlo di Borbone, Milano-Roma-Napoli 1904, p.687, note 4; liberi, atti del convegno (Albisola 25-27 maggio 1984) Firenze 1984, pp .45-49 25 Luigi Malabaila di Canale (1704-1773 ) was a good client of Du Paquier, as 36 Two cups had already been attributed to Vezzi (see L. Melegati Doccia Vezzi one can see from his coat of arms which occurs on Du Paquier porcelain, Du Paquier: von gegenseitiger Beeinflussung und problematischen Zuschreibungen, Lehner Jobst, 2015, op.cit Turin 2015, p.49. See also d’Agliano in Turin 2015, in Kraeftner 2005, (exhibition catalogue, Vienna Liechtenstein Museum) note 67 p. 66-67 and ACG, Fabbriche di Maioliche, Titoli e Scritture, cat 59, Munich pp.126-135.The other cup, already in the Leproni collection, was fascicolo 738, 30 Giugno1742 “Inventario (…) per sassofino macinato e arena Porcellane della Casa Eccellentissima Vezzi, 1720-1727 per la composizione della vernice all’uso di Viena esistente in una cassa e casella published by Stazzi , di peso di rubbi 13… Milano 1967, tav CV and CVI. The author confirmed the attribution of G. Le porcellane italiane Per cristallina del Tedesco già composta in caselle altre… Morazzoni (G. Morazzoni-S. Levy, , Milano 1960) I, tav 282. 26 Tommaso Boldoni, born in Parma in 1673, was charged to follow in Vienna An identical vase without a lid is today in Wawel Castle, in Cracow (Inv the interest of Charles of Bourbon (1716-1788). He also tried to convince 6214). I ‘m grateful to Giles Ellwood for this notice. the two viennese archanists (Carl Wendelin Anreiter von Ziernfeldt and 37 Pettenati 1986, pp622-628 and n 461 p. 629 Giorgio Delle Dori) active in the manufactory of Doccia to leave for Naples. See Lehner Jobst, in Turin 2015 pp. 50-51, note 23. 38 See d’Agliano in Turin 2015, p. 64 and Appendix pp.69-71 27 Although Morazzoni writes on his presence in Venice, this notice has never 39 I’m thankful to Errol Manners for having pointed out to me this figure. See been proved. However, Helchis is documented in Nymphenburg in 1748. also L. Melegati, in La collezione Cagnola. Le arti decorative, Busto Arsizio 1999 Lehner Jobst in Turin 2015,p 46-47 and note 6.. n.177 p 270

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