.jpg?w=1)
Lot Essay
Reinicke's work book of September 1744 records: '1dergl., Arlequin de Ansin, in Thon boussirt' (1 ditto, harlequin 'ansin' [or 'ancien'] modelled in clay), see Meredith Chilton, Harlequin Unmasked, The Commedia dell'Arte and Porcelain Sculpture, Singapore, 2001, p. 310, no. 107 and p. 110, no. 172 for a similar example.
This figure of Harlequin is modelled after the engraving 'Habit d'Arlequin Ancien', by François Joullain published in Luigi Riccoboni's Histoire du Théâtre Italien, Paris, 1728. However the Joullain engraving appears to derive from an earlier engraving from Compositions de rhétorique, published in Lyon in 1601 and thought to be by Tristano Martinelli, a celebrated Harlequin who became attached to the Mantuan court of Duke Ferdinando I Gonzaga and the French court. Harlequin 'ancien' varies in pose from Harlequin 'moderne' where he holds the brim of his hat with one hand and the end of his slapstick with the other.1
Harlequin, perhaps the most recognisable of the commedia characters was a zanni, a 'wily servant and go-between who hailed from Bergamo in Italy'.2 His character is depicted as contradictory and changeable, at once stupid and brilliant, absurd and cunning, and this chameleon-like nature is represented by his multi-coloured costume.
1. See Meredith Chilton, ibid., Singapore, 2001, p. 110, no. 170 for the Tristano Martinelli engraving; p. 110, no. 171 for the Joullain engraving of Harlequin Ancien, and p. 111, no.176 for the Joullain engraving of Harlequin Modern.
2. See Meredith Chilton, ibid., Singapore, 2001, pp. 37-45 for a full discussion of Harlequin's character and costume.
This figure of Harlequin is modelled after the engraving 'Habit d'Arlequin Ancien', by François Joullain published in Luigi Riccoboni's Histoire du Théâtre Italien, Paris, 1728. However the Joullain engraving appears to derive from an earlier engraving from Compositions de rhétorique, published in Lyon in 1601 and thought to be by Tristano Martinelli, a celebrated Harlequin who became attached to the Mantuan court of Duke Ferdinando I Gonzaga and the French court. Harlequin 'ancien' varies in pose from Harlequin 'moderne' where he holds the brim of his hat with one hand and the end of his slapstick with the other.
Harlequin, perhaps the most recognisable of the commedia characters was a zanni, a 'wily servant and go-between who hailed from Bergamo in Italy'.
1. See Meredith Chilton, ibid., Singapore, 2001, p. 110, no. 170 for the Tristano Martinelli engraving; p. 110, no. 171 for the Joullain engraving of Harlequin Ancien, and p. 111, no.176 for the Joullain engraving of Harlequin Modern.
2. See Meredith Chilton, ibid., Singapore, 2001, pp. 37-45 for a full discussion of Harlequin's character and costume.