Advertising sketch ‘Henry Creange’ for Società Ceramica Richard-Ginori
Early Twentieth Century
The sketch consists of an illustration featuring two barefoot female figures, covered by a dress blown by the wind, depicted as they hold a white vase together. In the center, corresponding to a laurel garland, there is an empty rectangle. This could allude to the space occupied by a display for showcase items, around which the advertising poster was perhaps meant to be exhibited.
This particular sketch should be related to the interests that the Società Ceramica Richard-Ginori of Milan had towards the overseas market, especially the American one, entrusted to Henry Creange. The name Henry Creange, inscribed in white with Art Nouveau characters at the bottom, indeed refers to the figure of the Richard-Ginori representative in the United States. In 1912, he had opened a sample room on the third floor of the Fifth Avenue Building in New York, where he also exhibited porcelain and ceramics produced by Ginori.
A brief notice in the Crockery & Glass Journal of March 19, 1914, read: “It is more like a visit to an art museum than passing through a sales point when observing the splendid exhibition of Ginori porcelains in the showrooms of Henry Creange, the American representative of the company. Ginori ceramics have reached an enviable level of perfection in the reproduction of historical pieces. Each piece in its renewed existence is exactly as it was when it first delighted the eyes of collectors one or two centuries ago. For many years Ginori has been adding rare specimens to its lists of reproductions, each with its own story and romanticism, and their new additions each season are awaited with keen interest by attentive lovers of ceramics” (p. 13).
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The sketch consists of an illustration featuring two barefoot female figures, covered by a dress blown by the wind, depicted as they hold a white vase together. In the center, corresponding to a laurel garland, there is an empty rectangle. This could allude to the space occupied by a display for showcase items, around which the advertising poster was perhaps meant to be exhibited.
This particular sketch should be related to the interests that the Società Ceramica Richard-Ginori of Milan had towards the overseas market, especially the American one, entrusted to Henry Creange. The name Henry Creange, inscribed in white with Art Nouveau characters at the bottom, indeed refers to the figure of the Richard-Ginori representative in the United States. In 1912, he had opened a sample room on the third floor of the Fifth Avenue Building in New York, where he also exhibited porcelain and ceramics produced by Ginori.
A brief notice in the Crockery & Glass Journal of March 19, 1914, read: “It is more like a visit to an art museum than passing through a sales point when observing the splendid exhibition of Ginori porcelains in the showrooms of Henry Creange, the American representative of the company. Ginori ceramics have reached an enviable level of perfection in the reproduction of historical pieces. Each piece in its renewed existence is exactly as it was when it first delighted the eyes of collectors one or two centuries ago. For many years Ginori has been adding rare specimens to its lists of reproductions, each with its own story and romanticism, and their new additions each season are awaited with keen interest by attentive lovers of ceramics” (p. 13).
