GIULIA MANGANI Firenze
Already at the end of the eighteenth century, Mangani are a family of sculptors and handed down the art of father to son.
At the beginning of the century, Cesarino Mangani worked in his own atelier in Florence with his five children, dealing with works that he needed mostly from English, French and American owners of villas around Florence. Following the crisis of ’29, which, as is well known, overwhelmed every sector of economic and financial life, the atelier was closed.
Of the five children one, Alfiero Mangani, after having worked as a ceramic-sculptor in a major Florentine factory, Zaccagnini, until the years 1955-56, opened a small ceramic and porcelain restoration workshop in the popular neighborhood of San Frediano in Florence , Assisted by his young son Ivan, and as a shopboy, on the other son Lando.
Subsequently, the activity begins to have porcelain objects and so with the will and determination of the two brothers, Ivan and Lando, a laboratory is opened in the “Doccia” area in Sesto Fiorentino, assuming little of the first A collaborator / friend who had never worked in ceramics but was otherwise an excellent baker (Piero Borghesi). Territory this cradle of a prestigious tradition for porcelain thanks to the existence of famous Richard Ginori. In this period (1960) Father Alfiero Mangani is missing.
The big breakthrough comes with a curious fate that leads to the transition from the simple lab at the time to today’s business. Some of the famous Tiffany homeowners notice the features and the superb quality of a porcelain cup, of which the artisans’ hand is not recognizable. Only after a solid search comes to know the hand of the master who created it, the Mangani family.
An intense long-lasting collaboration has been made thanks to the famous buyer Giovanbattista Giorgini (the fashion designer in Italy with the first parade at Palazzo Pitti, Florence) who takes on the skillful role of intermediary between the two companies. This allows the company to lay the foundations for expanding its production with the creation of large collections, complement to lighting, and innovative working and decorating techniques.
For a long time he has worked in our factory Our Uncle Manganese Furno after years of experience as a sculptor in Florentine workshops and the Hard stone factory, operating and restoring numerous churches in Italy including the Monastery of Santa Chiara in Naples, Bolazano and Florence as the Duomo of Santa Maria del Fiore, Santa Maria Novella and many other works such as the fountain of Niccolò Pisano in Perugia. He started working at the age of 10 until he was forced to stop around 96 for causes outside his will.
The assets of the company are today the sons of Lando, Giulia and Lorenzo Mangani, who with the new brand Giulia Mangani Firenze will carry on the historical tradition of porcelain in Italy.
Who we are
Porcelain as a primary element supported by the precious knowledge of internal workers; All the production phases are carried out internally in our headquarters located in Sestese, industrial area adjacent to Florence.
The company boasts a large collection of original models (1958-2012) to date invaluable assets, and many other models created by various artists and designers that over the years have contributed to expanding the wealth of Manganese, including E.Sottsass, M.Thun, L.Scacchetti, D.Palterer, U. Pietra, A.Oste, A. Mendini, Dani Caravan, Izzika Gaon and many others.
We firmly believe in Made in Italy, because our product is unique in its kind; Choice of high quality raw materials and Italian certified, attention to the precious detail, elegant and refined design. The vast production ranges from small hand-made flowers, vases, souvenirs, chandeliers to lamps in varied shapes and various styles, such as Empire, Deco, Classic, Contemporary.
The first porcelain products come to our continent as gifts and donations to real and notable during state visits, but soon the demand for porcelain, and the simultaneous inability to obtain similar products in Europe, resulting in a fierce export to the Our continent.
The most important royal and noble houses order on entire batch orders. But despite the fact that these productions always show on every single piece the effigy of the buyer, the decorations remain of the Oriental type, so that the faces themselves represented in the decorations retain the typical Asian somatic traits, because of the inability of the oriental decorators to reproduce features And European landscapes.
The first experiments on white porcelain are made by the Medici family in Florence. They get a very glassy paste that is very close to Chinese porcelain. This initial production is marked with the dome of the cathedral of Florence and the letter F indicating Florence. The decorations are mostly Renaissance and cobalt blue. Of these porcelains there are only a few specimens located in the most important museums in the world, production is very poor because of the great difficulty of having a homogeneous and continuous fabrication.
Since 1500 the search for the formula for obtaining porcelain becomes a real obsession for many rulers in Europe, but despite the many efforts, one has to wait another two centuries.
In 1709 the legend tells that thanks to some alchemists funded by the Saxon Princes, they came to know the existence of the Caolino; A messy messenger, fallen by mistake into a mud pool, realizes that once dried, the clothes become like a white powder, the Caolino, the main mineral that makes up the formula for white porridge. From here was born the first European production, Meissen manufactory.
All Europe’s rulers try to get the formula both legally and illegally. Within few years the most famous manufactures are: S. Claude in France, Charles III of Spain, while in Italy with the Marchesi Ginori of Florence. The first pieces that are made are initially of scarce manufacturing, in fact they go to history as “bastard mass” as neither porcelain nor ceramics; Nevertheless, all the most important museums have examples (Cozzi in Venice etc …………).
The popularity of Chinese porcelain in Europe, however, is such that for several decades new German, French and English factories merely produce, or rather reproduce, copies of Oriental forms and decorations. It is only from about 1740-50 that the idea of creating an original product that follows more typically European styles differs in Germany and France and is therefore involved in the development of decors and shapes of painters and sculptors of the time, Modern designers.
Hence the Chinese and European roads are divided; While in Europe the industrial revolution is extended to porcelain, progressively making a mass product accessible to the most, in China production is tied to craft destined for the elite, a choice that will cause its decline after the rise to Mao power.