This is a detail of an illustration in the Art Union of January 1846 (p.33), showing the Copeland and Garrett stand at the Manchester Exhibition of Industrial Arts of 1845/46. It shows the firm's reproduction in Statuary Porcelain of Marochetti's statue of Emanuele Filberto of Savoy. This was among the first subjects to be produced by the firm in this material. The accompanying article comments on this new departure: "Of statuettes there are many examples - of a character wholly distinct from the class generally known as bisque or pottery figures. The aim has been to imitate, both in material and execution, the artistic excellence and effect of sculpture; and the result has been most successful. We direct particular attention to the copy of Marochetti's statue of 'Philibert', - not only as a fine work of Art, but as a triumph over difficulties arising from the nature of the materials". (Art Union, January 1846, p.32) The somewhat anomalous choice of a bronze statue for reproduction in a material whose aim was to simulate marble was not remarked upon. Another statuette on this stand was a reproduction of R.J. Wyatt's marble statue of Apollo as Shepherd Boy of Admetus, of which the original was in the collection of the Duke of Sutherland at nearby Trentham Hall. It is quite possible that the choice of Marochetti's equestrian figure was made at the Duke's suggestion.
After this date, and during Marochetti's early years in London, from 1848 on, the ceramic firm which enjoyed a privileged relationship with him, and which reproduced a number of his sculptures, as well as working from his designs was Minton. The only other example of a Marochetti sculpture being exploited by Copeland is the seated figure of the Parsee philanthropist and merchant, Sir Jamsetjee Jeejeebhoy. The firm's Statuary Porcelain reproduction of this probably dates from around 1862.
Regrettablynoexamples of theEmanuele Filberto statuette appear to have survived, though one example of its plinth, measuring 28.5 X 17 X 20cm., has, and is illustrated in Robert Copeland, Parian. Copeland's Statuary Porcelain, Woodbridge, 2007, p.139) This ceramic pedestal bears lengthy inscriptions, but is without the relief panels which adorn the pedestal of the statue in Turin. To the Art Union's comment on the technical difficulty of producing this statuette in porcelain, it may be relevant to add that,as an object, it was totally impractical, the three legs of the horse making contact with the base being clearly inadequate as supports for the body of the horse and its rider. All other equestrian subjects produced in statuary porcelain or Parian have additional support in the form of tree-trunks, vegetation or drapery.