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拍品專文
For another similar model in the Dresden Porzellansammlung, see Carl Albiker, Die Meissner Porzellantiere (Berlin, 1959), no. 255; and for two others in the Ansbach Residenz, see Rainer Rükert, Meissener Porzellan 1710-1810 (Munich, 1966), nos. 1060 and 1061.
A version of this model and its pendant, a Sultan on a rhinoceros, from the Collection of S.B. Joel, was sold by Sotheby's on 29th May 1935, lot 33. A similar single example, from the Collection of the Late S. Oscar Dusendschon of Geneva, was sold by Sotheby's on 6th December 1960, lot 137, and another was sold in these Rooms on 5th October 1981, lot 194.
Kändler's taxa of March 1741 records: Einem grossen Elephanten; Reinicke's of November 1743: 1 Elephanten 9 Zoll hoch mit einer verzeiten Decke uberhanged, in Thon bossirt.
The intelligence, strength and bravery of the elephant has lead to a long and illustrious association with mankind. Their importance to man has ensured their depiction in many fields of art, where they are credited with a wide range of symbolic properties including nobility, monarchy, courage, strength, piety, temperance and honesty. Traditional temple guardians, they are generally emblematic of good fortune.
Asian art features the elephant most heavily, the Indian Subcontinent and Southeast Asia having large populations of the animals integrated into everyday life. This species of elephant is much more readily domesticated than the African variety, which although often depicted in African art and much revered, was always essentially a wild animal. Indian elephants are part of the working life of Asia as well as having significant courtly, ceremonial and religious roles. As they could be taught to fight, they were once also used in warfare as their huge strength was invaluable. It was in this capacity that the elephant was at first most famed in the West. The armies of ancient Rome used elephants, and they were also known to the Egyptians and Greeks. They were therefore incorporated into Western Art from Antiquity, but as they were not indigenous and were rarely seen, depictions of them were sometimes far from accurate.
A similar problem arose in China and Japan, where early elephant populations had become extinct and artistic depictions of them consequently became rather stylised. The burgeoning fashion for all things exotic and Oriental in Europe in the 17th Century ensured the importation of models of elephants from China and Japan, executed in various media, including porcelain. Two Kakiemon models of standing elephants with trunks raised are recorded at Burghley House, Lincolnshire, in the 17th Century; another, mounted as a clock, is in the Munich Residenz; and a fourth is the Dresden Porzellansammlung (see J. Ayers, O. Impey, J. Mallet et. al, 'Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750', British Museum Exhibition Catalogue [London, 1990], nos. 147 and 160). These elephants are slightly peculiar-looking creatures, modelled with rather creased trunks, almond-shaped eyes and humanoid ears, wearing elaborately-decorated saddle-cloths across their backs. The most signficant porcelain decorator at Meissen, J. G. Höroldt, must have been familiar with such depictions (see the detail of sheet 18 of his sketchbook, or the Schulz-Codex illustrated above; where he has added an Oriental grandee in exotic chinoiserie dress). The present lot features both a grandee, this time in Turkish dress, and a blackamoor 'mahoot', the elephant's driver.
A version of this model and its pendant, a Sultan on a rhinoceros, from the Collection of S.B. Joel, was sold by Sotheby's on 29th May 1935, lot 33. A similar single example, from the Collection of the Late S. Oscar Dusendschon of Geneva, was sold by Sotheby's on 6th December 1960, lot 137, and another was sold in these Rooms on 5th October 1981, lot 194.
Kändler's taxa of March 1741 records: Einem grossen Elephanten; Reinicke's of November 1743: 1 Elephanten 9 Zoll hoch mit einer verzeiten Decke uberhanged, in Thon bossirt.
The intelligence, strength and bravery of the elephant has lead to a long and illustrious association with mankind. Their importance to man has ensured their depiction in many fields of art, where they are credited with a wide range of symbolic properties including nobility, monarchy, courage, strength, piety, temperance and honesty. Traditional temple guardians, they are generally emblematic of good fortune.
Asian art features the elephant most heavily, the Indian Subcontinent and Southeast Asia having large populations of the animals integrated into everyday life. This species of elephant is much more readily domesticated than the African variety, which although often depicted in African art and much revered, was always essentially a wild animal. Indian elephants are part of the working life of Asia as well as having significant courtly, ceremonial and religious roles. As they could be taught to fight, they were once also used in warfare as their huge strength was invaluable. It was in this capacity that the elephant was at first most famed in the West. The armies of ancient Rome used elephants, and they were also known to the Egyptians and Greeks. They were therefore incorporated into Western Art from Antiquity, but as they were not indigenous and were rarely seen, depictions of them were sometimes far from accurate.
A similar problem arose in China and Japan, where early elephant populations had become extinct and artistic depictions of them consequently became rather stylised. The burgeoning fashion for all things exotic and Oriental in Europe in the 17th Century ensured the importation of models of elephants from China and Japan, executed in various media, including porcelain. Two Kakiemon models of standing elephants with trunks raised are recorded at Burghley House, Lincolnshire, in the 17th Century; another, mounted as a clock, is in the Munich Residenz; and a fourth is the Dresden Porzellansammlung (see J. Ayers, O. Impey, J. Mallet et. al, 'Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750', British Museum Exhibition Catalogue [London, 1990], nos. 147 and 160). These elephants are slightly peculiar-looking creatures, modelled with rather creased trunks, almond-shaped eyes and humanoid ears, wearing elaborately-decorated saddle-cloths across their backs. The most signficant porcelain decorator at Meissen, J. G. Höroldt, must have been familiar with such depictions (see the detail of sheet 18 of his sketchbook, or the Schulz-Codex illustrated above; where he has added an Oriental grandee in exotic chinoiserie dress). The present lot features both a grandee, this time in Turkish dress, and a blackamoor 'mahoot', the elephant's driver.