Gio Ponti - Gio Ponti Le maioliche - 2000

Gio Ponti. The majolica. Edited by Loris Manna. Biblioteca del Senato Edizioni, 2000. Hardcover, dust jacket, 248 pages. Editorial slipcase. Black and white and color illustrations. In excellent condition. No reserve - check out our other auctions!


Giovanni Ponti, known as Gio, (Milan, November 18, 1891 – Milan, September 16, 1979), was an Italian architect and designer among the most important of the post-war period.

Biography
Italians are born to build. Building is a characteristic of their race, a shape of their mind, a vocation and commitment of their destiny, an expression of their existence, the supreme and immortal sign of their history.
Gio Ponti, Architectural Vocation of Italians, 1940

Son of Enrico Ponti and Giovanna Rigone, Gio Ponti graduated in architecture from the then Royal Higher Technical Institute (the future Politecnico di Milano) in 1921, after suspending his studies during his participation in the First World War. In the same year, he married the noble Giulia Vimercati, from an ancient Brianzola family, with whom he had four children (Lisa, Giovanna, Letizia, and Giulio).

Twenty and thirty years old

Casa Marmont in Milan, 1934

The Montecatini Palace in Milan, 1938
Initially, in 1921, he opened a studio with architects Mino Fiocchi and Emilio Lancia (1926-1933), before collaborating with engineers Antonio Fornaroli and Eugenio Soncini (1933-1945). In 1923, he participated in the First Biennale of Decorative Arts held at the ISIA in Monza and was subsequently involved in organizing various Triennials, both in Monza and Milan.

In the twenties, he started his career as a designer in the ceramic industry with Richard-Ginori, reworking the company's overall industrial design strategy; with his ceramics, he won the 'Grand Prix' at the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. During those years, his production was more influenced by classical themes reinterpreted in a Deco style, aligning more closely with the Novecento movement, an exponent of rationalism. Also in those same years, he began his editorial activity: in 1928, he founded the magazine Domus, which he directed until his death, except for the period from 1941 to 1948 when he was the director of Stile. Along with Casabella, Domus would represent the center of the cultural debate on Italian architecture and design in the second half of the twentieth century.


Coffee service 'Barbara' designed by Ponti for Richard Ginori in 1930.
Ponti's activities in the 1930s extended to organizing the V Milan Triennale (1933) and creating sets and costumes for La Scala Theatre. He participated in the Industrial Design Association (ADI) and was among the supporters of the Golden Compass award, promoted by La Rinascente department stores. Among other honors, he received numerous national and international awards, eventually becoming a tenured professor at the Faculty of Architecture of the Polytechnic University of Milan in 1936, a position he held until 1961. In 1934, the Italian Academy awarded him the Mussolini Prize for the arts.

In 1937, he commissioned Giuseppe Cesetti to create a large ceramic floor, exhibited at the Universal Exhibition in Paris, in a hall that also featured works by Gino Severini and Massimo Campigli.

The 1940s and 1950s
In 1941, during World War II, Ponti founded the regime's architecture and design magazine STILE. In the magazine, which clearly supported the Rome-Berlin axis, Ponti did not hesitate to include comments in his editorials such as 'In the post-war period, Italy will have enormous tasks... in the relations with its exemplary ally, Germany,' and 'our great allies [Nazi Germany] give us an example of tenacious, serious, organized, and orderly application' (from Stile, August 1941, p. 3). Stile lasted only a few years and closed after the Anglo-American invasion of Italy and the defeat of the Italo-German Axis. In 1948, Ponti reopened the magazine Domus, where he remained as editor until his death.

In 1951, he joined the studio along with Fornaroli, architect Alberto Rosselli. In 1952, he established the Ponti-Fornaroli-Rosselli studio with architect Alberto Rosselli. This marked the beginning of the most intense and fruitful period of activity in both architecture and design, abandoning frequent links to the neoclassical past and focusing on more innovative ideas.

the sixties and seventies
Between 1966 and 1968, he collaborated with the ceramic manufacturing company Ceramica Franco Pozzi of Gallarate [without a source].

The Communication Studies and Archive Center of Parma houses a collection dedicated to Gio Ponti, consisting of 16,512 sketches and drawings, 73 models and maquettes. The Ponti archive was donated by the architect's heirs (donors Anna Giovanna Ponti, Letizia Ponti, Salvatore Licitra, Matteo Licitra, Giulio Ponti) in 1982. This collection, whose design material documents the works created by the Milanese designer from the twenties to the seventies, is public and accessible.

Gio Ponti died in Milan in 1979: he is buried at the Milan Monumental Cemetery. His name has earned him a place in the cemetery's memorial register.

Stile
Gio Ponti designed many objects across a wide range of fields, from theatrical sets, lamps, chairs, and kitchen objects to interiors of transatlantic ships. Initially, in the art of ceramics, his designs reflected the Viennese Secession and argued that traditional decoration and modern art were not incompatible. His approach of reconnecting with and utilizing the values of the past found supporters in the fascist regime, which was inclined to safeguard the 'Italian identity' and recover the ideals of 'Romanity,' which was later fully expressed in architecture through the simplified neoclassicism of Piacentini.


La Pavoni coffee machine, designed by Ponti in 1948.
In 1950, Ponti began working on the design of 'fitted walls', or entire prefabricated walls that allowed for the fulfillment of various needs by integrating appliances and equipment that had previously been autonomous into a single system. We also remember Ponti for the design of the 'Superleggera' seat in 1955 (produced by Cassina), created by modifying an existing object typically handcrafted: the Chiavari chair, improved in materials and performance.

Despite this, Ponti built the School of Mathematics in the University City of Rome in 1934 (one of the first works of Italian Rationalism), and in 1936, the first of the office buildings for Montecatini in Milan. The latter, with strongly personal characteristics, reflects in its architectural details, of refined elegance, the designer's penchant for style.

In the 1950s, Ponti's style became more innovative, and while remaining classical in the second office building for Montecatini (1951), it was fully expressed in his most significant work: the Pirelli Skyscraper in Piazza Duca d'Aosta in Milan (1955-1958). The structure was built around a central framework designed by Nervi (127.1 meters). The building appears as a slender and harmonious glass slab that cuts through the architectural space of the sky, designed with a balanced curtain wall, with its long sides narrowing into almost two vertical lines. Even with its character of 'excellence,' this work rightly belongs to the Modern Movement in Italy.

Opere
Industrial design
1923-1929 Porcelain pieces for Richard-Ginori
1927 Pewter and silver objects for Christofle
1930 Large pieces in crystal for Fontana
1930 large aluminum table presented at the IV Triennale di Monza
1930 Designs for printed fabrics for De Angeli-Frua, Milan.
1930 Fabrics for Vittorio Ferrari
1930 Cutlery and other objects for Krupp Italiana
1931 lamps for fountain, Milan
1931 Three libraries for the Opera Omnia of D'Annunzio
1931 Furniture for Turri, Varedo (Milan)
1934 Brustio Furniture, Milan
1935 Cellina Furniture, Milan
1936 Small Furniture, Milan
1936 Arredamento Pozzi, Milan
1936 Watches for Boselli, Milan
1936 scroll armchair presented at the VI Triennale di Milano, produced by Casa e Giardino, then (1946) by Cassina and (1969) by Montina.
1936 Furniture for Home and Garden, Milan
1938 Fabrics for Vittorio Ferrari, Milan
1938 Chairs for Home and Garden
1938 Steel swivel seat for Kardex
Interiors of the Settebello Train
In 1948, he collaborated with Alberto Rosselli and Antonio Fornaroli in creating 'La Cornuta,' the first horizontal boiler espresso machine produced by 'La Pavoni S.p.A.'
In 1949, Collabora collaborated with Visa mechanical workshops in Voghera to create the sewing machine 'Visetta.'
In 1952, collaborated with AVE to create electrical switches.
1955 cutlery for Arthur Krupp
1957 Superleggera Chair for Cassina
1963 Scooter Brio for Ducati
1971 small armchair seat for Walter Ponti


Photo by Paolo Monti (Paolo Monti Collection at BEIC)
Dessert service
Dessert service

Cutlery, circa 1955-1958
Cutlery, circa 1955-1958

Cutlery, circa 1955-1960
Cutlery, circa 1955-1960

Ceramic sanitary ware for Ideal Standard, around 1954
Ceramic sanitary ware for Ideal Standard, around 1954.
Architectures and interiors

Denver Art Museum, Denver, 1970-71
1923 Manifattura di Doccia, Sesto Fiorentino, (Florence)
1923 Manifattura San Cristoforo (Milano)
1925 House at Via Randaccio, 9, Milan
1926 Villa Bouilhet in Garches, (Paris)[21]
1927 Lobby at Le Salette at La Rinascente - Domus Nova, (Milan)
1927 Pavilion of the Graphic and Book Industry at the Campionaria Fair, Milan
1927 furniture for studio L'Officina, Milan
1927 furniture for La Rinascente-Domus Nova, Milan
1927 Furniture for The Labyrinth, Milan
1927 Interior Design of Casa Semenza, Levanto (La Spezia)
1927 Monument to the Fallen in Piazza Sant'Ambrogio, Largo Caduti Milanesi per la Patria, 20123 Milan MI
1927 Casa Borletti at Via San Vittore 40, Milan
1928 Ristorante La Penna d'Oca, Milan
1928 Richard-Ginori exhibition stand, Milan Trade Fair
1928 Arrangement of the Rotunda of the Italian Pavilion at the 16th Venice Biennale
1928 Designs for embroidery on silk for the Cernobbio School.
1928 Vimercati Furniture in Via Domenichino, Milan
1928 House in Via Domenichino, Milan
1928 Arredamento Schejola at Via Pisacane, Milan
1928 Malagoli hairdresser's shop in Piazza Virgilio, Milan
1930 Borletti Chapel at the Monumental Cemetery, Milan
1930 luxury cabin decor for an ocean liner at the IV Triennale di Monza.
1930 Vacation house at the 4th Triennale in Monza
1931 Ceilings and wallpaper of Umberto II's apartments, Castello di Racconigi[22]
1931 Contini-Bonacossi Furniture, Florence
1931 Banca Unione headquarters (later Barclays Castellini) on Via Santa Maria Segreta, Milan, with Emilio Lancia
1931 Typical Houses: Domus Julia, Domus Carola, and Domus Fausta at 21/23/25 Via De Togni, Milan (with Emilio Lancia)
1931 glass furniture for the Dahò store, Milan
1932 Italcima factory at the corner of Via Crespi and Via Legnone, Milan
1932 Furniture for Ida Pozzi on Via De Togni, Milan.
1932 Inlay wood mobile for the Opera Omnia of Gabriele D'Annunzio
1933 Typical Cases: Domus Aurelia, Domus Onoria, Domus Flavia, Domus Serena in Via Letizia, Milan
1933 Typical Houses: Domus Livia in Via del Caravaggio, Milan
1933 Casa Rasini at the corner of Corso Venezia and Bastioni di Porta Venezia, Milan
1933 Torre Littoria at Parco Sempione, Viale Luigi Camoens, 2, 20121 Milan MI
1933 Bedroom for the V Triennale di Milano
1933 Domus Lictoria: competition for the Palazzo del Littorio, Via dell'Impero, Rome
1934 Typical Case Domus Adele at Viale Coni Zugna, 40 and Domus Flavia at Via Cicognara, 11 Milan
1934 School of Mathematics, University City, Rome
1934 Setup of the Lightest Air Room at the Aeronautics Exhibition, Palazzo dell'Arte, Milan
1934 Villino Siebaneck on Via Hajech, Milan
1934 Palazzi for the Ledoga offices on Via Carlo Tenca, Milan - since June 17, 1955, the section of the street involved has been renamed; the current name is Via Roberto Lepetit.
1934 Casa Marmont in Via Gustavo Modena, 36, 20129 Milan MI
1935 Ville de Bartolomeis in Bratto - Castione della Presolana, Val Seriana, Bergamo
1935 Casa Laporte in Via Benedetto Brin, 10, 20149 Milan MI
1935 Hotel in Val Martello, Paradiso del Cevedale, Merano
1935-1938 Primo Palazzo Montecatini, at the corner of Via della Moscova and Via Turati, Milan.
1936 Office furnishings for Ferrania, Rome
1936 Interior of the Italian Cultural Institute, Palazzo Füstenberg, Vienna (Austria)
1936 Typical Houses: Domus Alba at Via Carlo Goldoni, 63, 20129 Milan MI
1936 Universal Exhibition of Catholic Press, Vatican City, Rome
1936 Demonstrative residence at the VI Triennale di Milano, Milan.
1936 Aula Magna, Basilica and Rectorate, Palazzo del Bo, University of Padua
1937 Maniglia E42 for Olivari for the Rome Expo of 1942.
1937 Il Liviano, Faculty of Humanities of the University of Padua, Piazza del Capitaniato, Padua
1938 Vanzetti Furniture, Milan
1938 Borletti Furniture in Via dell'Via Annunciata 5/7 - Milan
1938 Victory Exhibition, Padova
1938 Villa Marchesano, Bordighera (Imperia)
1938 Villa Tataru, Cluj (Romania)
1939 Office furniture Vetrocoke, Milan
1939 buildings in Piazza San Babila, Milan
1939 Palazzo Ferrania (later Fiat, now the location of the store for the New York-based brand Abercrombie & Fitch) on the corner between Corso Matteotti and Via San Pietro All'Orto, Milan.
1939 Palazzo EIAR (now Palazzo RAI) at Corso Sempione, 27, Milan
1939 Set design and costumes for the ballet La Vispa Teresa by Ettore Zapparoli, San Remo (Imperia)
1940 Handles for Stones, Milan
1940 panels with enamel on copper created by Paolo De Poli.
1941 cutlery for Krupp Italiana, Milan.
1941 furniture with enamel finishes created by Paolo De Poli, Padova.
1940 Hotel du Cap, a project for vacation houses for Eden Roc, Cap D'Antibes (France)
1940 scenery and costumes for Pulcinella by Stravinsky at Teatro dell'Arte, Milan
1940 Villa Donegani, 18012 Madonna della Ruota, Bordighera (Imperia)
1940 Columbus Clinic for the Missionary Sisters of the Sacred Heart, Via Buonarroti 48, Milan
1940 Palazzina Salvatelli, Via Eleonora Duse 53, Rome
1943 furniture for the Krupp silver shop, Milan
1943 Villino Marmont La Cantarana, Lodi
1944 Palazzo Garzanti on Via della Spiga, 30, Milan (in collaboration with Gigi Ghò)
1944 set design and costumes for the ballet Festa Romantica by Piccoli at Teatro La Scala, Milan
Circa 1947 - reconstruction of the Palazzo Castello Valignani-Masci in Miglianico, commissioned by the owner Filippo Masci, with Francesco Bonfanti.
1947–1951 Second Palazzo Montecatini, Via Turati-Largo Donegani, Milan
1950 Villa Mazzarella, Naples
1950 Harar neighborhood, located between the Quarto Cagnino and San Siro districts, near San Siro stadium, Milan (with Gigi Ghò)
1950 Edison hydroelectric power plant in Cedegolo
1952 Villa Arata, Naples
1952–1956 Edison hydroelectric power plants in: Santa Giustina, Chiavenna, Campodolcino, Cimego, Liri, Vinadio, Pantano d'Avio, Stura Demonte
1952–1958 Italian Institute of Culture (Lerici Foundation), Stockholm, Sweden
1953-1957 complex including the Hotel della Città et de la Ville and the Livio and Maria Garzanti Foundation Study Center, in Corso della Repubblica, in Forlì.
1953-1957 Villa Planchart, Caracas, Venezuela.
1953 furnishings and interiors of the Hotel Royal, Naples.
1954 Lama handle for Olivari for the Pirelli skyscraper, Milan
1955 Interior of the machine room at the hydroelectric power plant Porto della Torre, Somma Lombardo (VA)
1956 Maniglia Cono for Olivari for Villa Planchart, Caracas
1956-1960 Headquarters building of the Riunione Adriatica di Sicurtà (RAS), Milan (with Antonio Fornaroli, Piero Portaluppi, and Alberto Rosselli)[23]
1956–1961 Pirelli Skyscraper, Via Fabio Filzi, 22, 20124 Milan MI
1955-1960 Church of San Luca Evangelista, Via Andrea Maria Ampère, 75, 20131 Milan MI
1957 House in via Plinio, 52 in Milan (with Antonio Fornaroli and Alberto Rosselli)
1958 Monastery of the Discalced Carmelite Nuns, at 191 Padre Semeria Street, Sanremo (Imperia) [without source]
1960 Residential house in via Bronzino, 5 in Milan (with Antonio Fornaroli and Alberto Rosselli)
1960 Cesenatico Town Hall
1961 Trifoglio Building, Faculty of Engineering, Polytechnic University of Milan, 3 Edoardo Bonardi Street - Milan (MI)
1961 Residential house in Spreafico, 3, Monza
1962 Headquarters of RAS (now Allianz) at the corner of Corso Italia with via Santa Sofia, Milan.
1962 Hotel Parco dei Principi, Sorrento
1964 Hotel Parco dei Principi, Rome
1964 Church of San Francesco d'Assisi at Fopponino, on Via Paolo Giovio, 41, 20144 Milan MI
1968–1971 Montedoria Building, at 25 Giovanni Battista Pergolesi Street, 20124 Milan MI, located in viale Andrea Doria, at the corner with Macchi and Pergolesi streets, Milan
1970 Concattedrale Gran Madre di Dio, Taranto at Via Monsignore Blandamura, 7, 74121 Taranto TA
1970-1971 Denver Art Museum, Denver (United States).
Richard-Ginori, renamed Ginori 1735 starting from 2020, is a company founded on October 11, 1896, from the merger of Società Ceramica Richard, of Lombard origin, with the Manifattura di Doccia, established in 1737 by Marquis Carlo Ginori in Doccia, a locality of Sesto Fiorentino. It is renowned worldwide for its porcelain, which is still produced in Sesto Fiorentino.

Richard-Ginori, which declared bankruptcy in January 2013, was acquired in May 2013 by the Gucci group, which is currently controlled by the French company Kering.

Story

The same topic in detail: Porcellana Ginori at Doccia.
The history of Richard-Ginori has ancient origins and involves several Italian manufactures and productions from the 18th century, which were later incorporated, particularly the aforementioned Società Ceramica Richard, the Manifattura di Doccia of Marquis Ginori, and the Manifattura Palme.

History of the Ceramica Richard Company

The factory of Ceramica Richard along the Naviglio Grande, at S. Cristoforo, before the merger.
Predecessor of Ceramica Richard was the Society for the manufacturing of Lombard porcelain, founded in 1830 by the Gindrand company, later sold in 1833 to Noble Luigi Tinelli, who built the San Cristoforo establishment on the Naviglio Grande, an important commercial route for industrial productions.

Giulio Richard (not to be confused with the namesake lawyer, deputy of the XXIII legislature of the Kingdom of Italy), of Piedmontese origin with Swiss roots (from Nyon), took over the factory from Tinelli on May 23, 1842. He had great ideas for small-scale production, and so the factory's furnaces began producing not only fine artifacts intended for the wealthiest but also tableware and earthenware for everyday use.

Achieving excellent feedback and sales, Richard founded the Società Ceramica Richard on February 23, 1873, based in Milan with factories in San Cristoforo, Palosco, and Sovere (the latter two would later be abandoned).

The company was listed on the Milan Stock Exchange in 1877[2].

Acquisition of Manifattura Palme (1887)
Pallme (the original surname was spelled with two Ls until the 19th century) were merchants originating from Parchen, a village in the Czech Republic located in the Bohemian crystal district (Steinschoenau, Parchen, Haida). They settled in Tuscany after the Congress of Vienna (1815), first in Livorno (around 1820) and then in Pisa, to engage in industry.

Documents recall the first property purchases in Pisa on Via S. Marta in 1837, and in 1841 at S. Michele outside the walls, along the Arno, at the end of the Piagge promenade. It seems they engaged in the manufacture of both earthenware and glassmaking, although the latter was soon discontinued.

On December 11, 1887, the Società Ceramica Richard purchased the Palme Manufacturing Establishment through the Fontani deed to expand its production; the decision was driven by a firm intention to grow by proximity to the sea to facilitate transfers, its location in the heart of Italy to expand trade nationally, and the completion of the product range; additionally, the presence of vegetable fuel on site, the lower cost of mineral, and the established export quotas of the Palme Manufacturing, among other reasons, are noteworthy.

Birth of Richard-Ginori (1896)
On October 11, 1896, the Società Ceramica Richard merged with Porcellana Ginori in Doccia, founded in 1735: it combined its activities with the Doccia factory and the six stores in Florence, Bologna, Turin, Rome, and Naples. The famous ceramics company Richard-Ginori was born.
In the very same year as the merger, he created a commemorative service on behalf of Casa Ricordi, immediately after the world premiere of Puccini's La bohème, which took place in February 1896.

The Richard company's entry into Doccia introduced many mechanical innovations in the workshops and enhanced lithographic decalcomania to reduce the high costs of hand decoration. New furnaces and buildings were constructed, and the production of electrical insulators was expanded to meet the growing demand of the Italian market. The company was listed on the Milan Stock Exchange, where it remained on the index for nearly a century[5].

In 1897, he purchased the ceramic establishment for earthenware of Cav. Felice Musso of Mondovì, and in 1900, the one in Vado Ligure, where stoneware is produced.

Between 1923 and 1930, Gio Ponti worked as artistic director at the Manifattura Ceramica Richard-Ginori, renewing its product range.
In 1965, its merger with the Società Ceramica Italiana (S.C.I.) of Laveno Mombello took place.

Twentieth century and the 2000s

The Doccia Porcelain Museum at Richard Ginori
In 1970, it became a subsidiary of Finanziaria Sviluppo of Michele Sindona. In 1973, Sindona sold Richard Ginori to Liquigas of Raffaele Ursini. In 1975, Pozzi and the Italian Ceramic Society Richard-Ginori merged to create a single large structure: Pozzi-Ginori. In 1977, Ursini transferred it to the insurance group SAI (Società Assicuratrice Industriale), of which he was the owner, and was soon replaced by Salvatore Ligresti. In 1993, the fates of Pozzi-Ginori once again separated the two groups; the bathroom furniture division was acquired by Sanitec Corporation, a leading multi-brand group in the sector, while the Manifattura Richard Ginori was acquired in 1998 by Pagnossin, the leading Italian group in the tableware services sector, headed by President Carlo Rinaldini and CEO Ing. Domenico Dal Bo. In 2006, the Emilia-based group Bormioli Rocco & Figli took ownership of Richard Ginori, proposing a transformation of the product to bring the Ginori brand, one of the oldest Italian patents, into large retail chains, alongside the potential construction of a new production plant. Much of the material marketed after Pagnossin's entry was no longer produced in the Sesto factory but sourced from non-Italian industries, justified by the need to reduce production costs. Bormioli's presence ended in December of the same year, while Richard Ginori faced a worrying debt situation, with Luca Sarreri, a real estate investor and also president of the parent company Pagnossin, at the helm. During that period, there was speculation about selling the historic Sesto plant due to some real estate prospects for the area. In October 2007, Richard Ginori was sold again, this time to Starfin of Roberto Villa. In March 2009, after three years, the company's stock was re-listed on the stock exchange, driven by the possibility of developing residential buildings worth at least 30 million euros on the site of the Sesto Fiorentino manufactory. However, in May 2012, due to severe financial difficulties with debts exceeding forty million euros, the Sesto Fiorentino factory was placed into voluntary liquidation, and a board of liquidators was appointed to avoid bankruptcy through the sale of the company and the request for a preventive agreement, including legal authorization to carry out urgent acts of extraordinary administration, particularly the sale of the company. A regulation was established allowing interested parties to submit binding offers. From August 1, 2012, activity was suspended, and 330 workers were placed on extraordinary redundancy. On October 9, 2012, Richard Ginori filed for bankruptcy with the Florence court. On November 14, 2012, the Board of Liquidators, after opening bids from two interested parties—Arcturus S.p.A. (Sambonet) and the integrated offer from Lenox Corporation and Apulum S.A.—decided that the latter proposal was more advantageous both economically and socially. Despite this, on January 7, 2013, the judges of the Florence court, tasked with ruling on the admissibility of the company’s preventive agreement, declared Richard Ginori bankrupt and appointed Andrea Spignoli as curator.

Acquisition by Gucci
The only purchase offer came from the luxury goods company Gucci (Kering group) with an offer of 13 million euros to the Florence court. Gucci's investment includes the Richard Ginori brand and the factory in Sesto Fiorentino (Florence), but not the property ownership of the land of the large industrial area of 130,000 square meters, whose acquisition was finalized after lengthy negotiations only in August 2018. Gucci reopened the plant on June 5, 2013, with the return of employees. In 2016, the company agreed with the union on a reduction of 200 staff by 2019. In September 2020, the company changed its name and logo: it remains 'Ginori', as it was at the beginning of its history, and the name 'Richard' was abandoned.

Richard-Ginori Museum
The Richard-Ginori Museum of the Doccia Manufactory, adjacent to the factory, is of historical and artistic significance. It houses the production of the manufactory from its founding. In 2017, the museum was acquired by the State, as part of the Tuscany Regional Hub.