A MEISSEN COMMEDIA DELL'ARTE FIGURE OF PANTALONE FROM THE DUKE OF WEISSENFELS SERIES
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A MEISSEN COMMEDIA DELL'ARTE FIGURE OF PANTALONE FROM THE DUKE OF WEISSENFELS SERIES

CIRCA 1744, BLUE CROSSED SWORDS MARK

細節
A MEISSEN COMMEDIA DELL'ARTE FIGURE OF PANTALONE FROM THE DUKE OF WEISSENFELS SERIES
CIRCA 1744, BLUE CROSSED SWORDS MARK
Modelled by J.J. Kändler and P. Reinicke, in a typical pose walking forward, with a grey beard and wearing a black skull cap and long coat, a white ruff, an iron-red tunic, breeches and stockings and yellow slippers, a dagger slung from his waist, on a mound base applied with a flower and foliage (restoration to dagger, tip of right little finger and foliage, small chip to front of black cloak, slight chipping to flower)
5¼ in. (13.3 cm.) high
來源
With Winifred Williams, London.
An English Private Collection.
With Albert Amor Ltd., London, from whom it was acquired on 11 June 2008.
出版
Birte Abraham, The Commedia dell'Arte, The Patricia & Rodes Hart Collection of European Porcelain and Faience, Amsterdam, 2010, pp. 64-65.
注意事項
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

榮譽呈獻

Matilda Burn
Matilda Burn

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拍品專文

Reinicke's work records for March 1744 note '1 Pandelon in Thon reparirt' (1 clay Pandelon repaired), see Meredith Chilton, 'The Duke of Weissenfels Series' in Reinhard Jansen (ed.), Commedia dell'Arte Fest der Komödianten, Stuttgart, 2001, p.18 for the reference. As Kändler also mentions Pantalone in March 1744 and then again in May, it may be that he started work on this figure and then handed it over to Reinicke before correcting it again.

This model is loosly based on the 1728 engraving 'Habit de Pentalon Ancien', by François Joullain after Jacques Callot. For a similar examples in The Gardiner Museum, Toronto (inv. no. G83.1.0932), see Meredith Chilton, Harlequin Unmasked, Commedia dell'Arte and Porcelain Sculpture, Singapore, 2001, p. 198, ill. 315 (and cat. no. 105) and p. 198, ill. 316 for the related engraving.

Pantalone, an elderly Venetian merchant, was portrayed as vain and avaricious in commedia performances. His role was either that of the jealous cuckold or that of the greedy father who wished to marry off his daughter for finincial gain. He was invariably ridiculed or duped by servants and family alike, and although his role developed in the early 18th century into that of an honourable but strict father he was still portrayed as easily fooled.

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