Reinicke recorded that he repaired a tanzende Arlequinin (dancing Harlequine) in October 1744. For a similar example in the Gardiner Museum, Toronto (inv. no. G83.1.0932) see Meredith Chilton, Harlequin Unmasked, The Commedia dell'Arte and Porcelain Sculpture, Singapore, 2001, p. 310, no. 104, where she also notes that this model was copied at Höchst, Berlin and Derby, see cat. nos. 53 and no. 42 and no. 33.
Harlequine, the female counterpart to Harlequin, began to appear in engraved and painted depictions of the Commedia dell'Arte in the late 17th century. She is rarely found in surviving plays so it seems most likely that she became popular as a masquerade character to be paired with Harelquin for dancing and court festivities.