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    Sale 7549

    British and Continental Ceramics and Glass

    18 November 2008, London, King Street

  • Lot 121


    CIRCA 1742

    Price Realised  

    CIRCA 1742
    Modelled by J.J. Kändler, with Columbine seated on Beltrame's lap in an amorous embrace, Harlequin at their feet, sticking out his tongue while peeping up Columbine's skirt, Beltrame in a black hat, gilt-flowered purple jacket, black breeches and shoes, Columbine in a small white tricorn hat with iron-red plumes, a white chemise, a turquoise bodice with Sgraffito scrolls, a flowered yellow skirt and red shoes, Harlequin in a chequered yellow, purple and black jacket, iron-red and black trousers and a black and a yellow shoe, on a shaped mound base applied with coloured flowers and foliage (restoration to Beltrame's hat, right foot, hand and fingers, Columbine's hat plumes, left arm, hands, skirt and shoes, Harlequin's shoes and ankles, some chipping to bows, flowers and foliage and tip of Columbine's right index finger)
    6 5/8 in. (17 cm.) high

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    The Pauls-Eisenbeiss example is illustrated by Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century Collection Catalogue (London, 1972), pp. 268-269, where other examples are also listed.

    See Meredith Chilton, Harlequin Unmasked (Singapore, 2001), p. 138, fig. 225 and pp. 304-305, no. 93 for the example of this model in the Gardiner Museum of Ceramic Art, Toronto. Chilton suggests that the group could have been derived from a blend of two separate print sources. She suggests that the couple's pose could be derived from one of Petrus Schenk's series of twelve engravings, 'Les Amours de Columbine' (which show Columbine 'paired in amorous positions with almost every male member of the troupe') showing Columbine seated on Harlequin's lap (illustrated p. 138, fig. 226). She suggests that Harlequin's pose could be based on Gregorio Lambranzi's engraving from 'The New and Eccentric School of Theatrical Dancing', where Harlequin is shown 'concealed' on the ground and reaching up 'in order to steal from an unsuspecting blind beggar' (illustrated p. 138, fig. 227).

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    Pre-Lot Text