1777 B. Franklin Américain Portrait Medallion. Fur Cap without Spectacles.

1777 B. Franklin Américain Portrait Medallion. Fur Cap without Spectacles. By Jean-Baptiste Nini. Margolis-17, Baiardi-Sibille 94, Greenslet GM-15, Storelli-LXI, Villers-43#var. Terracotta. 112.5 mm, approximately 7.2 mm at the edge. 167.0 grams. Obverse with incuse signature and date NINI / F 1777 on truncation, left of coat of arms. Secondary date 1777 below, in relief. B FRANKLIN AMERICAIN around, separated by four rosettes and a single stop, with raised plain border. Made with a suspension hole from the top edge through to the back, as typical. Oblique edges finished in a somewhat softly defined bevel around the reverse rim. Pleasing and uniform deep leather brown surfaces. A few tiny chips are detected in the outermost border and have little visual impact without close study. A slight unevenness is noted in the piece overall, which is a byproduct of the firing of the clay. A pleasing example of this most common type produced in large quantity with the express purpose of shipping them to America for distribution in 1779. Margolis gives the recorded weights of 40 different examples of this type in his study of Nini's Franklin medallions. This is the second lightest among them, and close study of the surfaces and details reveals that this medallion does not seem to be as refined in nature as other obvious originals seen. The surfaces are less smooth overall and the crispness of the detail seems somewhat inferior, though not as much as one might see on a 19th century Balon copy. In Richard Margolis' study of the Franklin medallions, Benjamin Franklin in Terra Cotta, he discusses contemporary references to early copies from Nini's original molds. Jacques Mercier, who leased the pottery works of Chaumont shortly after Nini's death in 1786 was said to have (translated from French) "made some money using medals of the celebrated artist." Other accounts point to later productions as well. The notary who handled the Nini estate stated in 1788 that he personally had medallions made by men at the workshop which were not under the direction or review of Nini, and that he sold three or four hundred pounds of them - a volume that seems impossible to support by surviving evidence, but there might be some medallions attributable to his statement of activity. Such medallions might not be distinguishable from Nini's originals, unless they are of slightly less refined quality, as here, made by the same artisans of Nini's shop, but without benefit of his clearly critical and exacting eye. Provenance: From the Richard Margolis Collection.

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