The sculptor Corrado Feroci, after winning in 1923 the competition for the creation of the statue of the king of Siam Rama I, turned to FAFM in 1942 for his lost wax bronze casting, wanting an exact processing of the details as requested by the royal siamese court.
As a sign of gratitude for the liberation of the city from the Germans, Count Chigi Saracini of Siena asked the Sienese sculptor Vico Consorti to create the so-called Gate of Gratitude for the Duomo of Siena. It was cast by the Fonderia Marinelli.
One of the four golden horses that dominate the Arlington Memorial Bridge in Washington by the New Yorker Leo Friedlander a sculptor who studied in Europe, donated in 1949 by the Italian Ambassador Alberto Tarchiani to the American people on behalf of the Italian Government. Conceived in 1929, the design for this colossal monument remained unused during the great depression. The project was revived in 1938 and completed only after the end of World War II. The quality of the casting earned the Fonderia Marinelli the ‘Diploma of Honor’ conferred by the Ministry of Industry and Commerce.
Modeled by the Siena artist Vico Consorti to replace the wooden one in St. Peter’s Basilica at the Vatican, the door was cast at the Fonderia Marinelli. Marinelli was fully accredited by the Vatican after the castings of the Ramp of the Vatican Museums and the Monumental Tomb of Pope Pius XI.
The Committee for the construction of a monument to Christopher Columbus as a gift of the Italian community of Newport, Rhode Island, to its own town was formed in 1932. The project and the collection of funds took a long time, so that it was only in 1953 that the Fonderia Marinelli was able to send a small-scale model made by the sculptor Giovanni Cappelletti. After its approval, the artist realized the full-size model, which was cast by the foundry and sent to the USA.
The castings of the replicas of Donatello’s “Gattamelata” and Verrocchio’s “Colleoni”, for Montevideo, Uruguay, which were scheduled to follow the casting of the ‘David’, were stopped by the war. The project was revived in the first half of the 1950s and the two equestrian monuments were sent to Uruguay in 1955.