CIRCA 1760, TOP OF BASE WITH GILT-EDGED IMPRESSED BAVARIAN SHIELD MARK

细节

A Nymphenburg figure of a bowing Oriental
Circa 1760, top of base with gilt-edged impressed Bavarian shield mark
Modelled by Franz Anton Bustelli, bowing elegantly with his right hand to his forehead, his left arm concealed beneath his garments, his face looking down and his shaved head with a pig-tail of hair flopping forwards, wearing a sleeveless gilt-edged full-length pink robe over a white-lined blue robe with long pendant sleeves and tied at the waist with a striped orange sash, the gilt-edged cuff of an orange under-garment showing at his right wrist, his baggy yellow pantaloons tied above his pointed blue shoes, on a shaped flat base edged with sweeping scrolls enriched with gilt lines (four chips to edge of base, minute wear to gilding)
6 in. (15.1 cm.) high

来源

Museo Castello del Buonconsiglio, Trento, inv. M.N. n. 505.

出版

Alfred Ziffer, 1991, pp. 66-7, no. 32.

注意事项

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

拍品专文

For a discussion of Bustelli's Chinese figures, see Fritz Bäuml, Einiges über Nymphenburger Chinesen, Keramos, 10th October 1960, pp. 7-12. A similar example in the Bäuml Collection, Schloss Nymphenburg, inv. no. A39, is un-decorated and of later date.

Although Bustelli's Commedia dell'Arte series is the summit of Nymphenburg's achievements, Bustelli's method of working in wood is perhaps best seen in his series of Chinese figures where the planiform treatment of their clothes is remarkably powerful. Among the rarest of his Chinese figures, only one other coloured example (in Dresden) of this figure is known to exist. For the white example in the Bäuml Collection, see Alfred Ziffer, Nymphenburger Porzellan, Sammlung Bäuml, Schloss Nymphenburg Catalogue, Munich (Stuttgart, 1997), p. 56, no. 81, and see the example, also un-decorated, illustrated by Friedrich Hofmann, Geschichte der Porzellan-Manufaktur Nymphenburg (Leipzig, 1923), Vol. I. p. 94.