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全球拍卖首页 > Christie's UK > 尊尚珍品拍卖 > Lot 108
A MEISSEN WHITE PORCELAIN MODEL OF A HEN WITH HER CHICKS
英国 北京时间
2019年07月05日 开拍 / 2019年07月05日 截止委托
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A MEISSEN WHITE PORCELAIN MODEL OF A HEN WITH HER CHICKS 1732 Naturalistically modelled by J.J. K?ndler, with her head turned towards her tail, a chick preening itself on her back and further chicks peeping out from under her wings and feathers 13 ? in. (34.5 cm.) high One of only four examples, a 'hen and her young' (Gallus domesticus) is one of the rarer bird models created by the Modellmeister Johann Joachim K?ndler for the Saxon Royal porcelain menagerie. Another is known in a private collection. The third remains in the Porzellansammlung, Dresden. The whereabouts of the fourth, sold to Prince Anatol Demidoff in July 1853, is currently unknown. The porcelain menagerie became the centrepiece of Augustus the Strong’s Japanese Palace, sometimes referred to as his porzellanschloss (porcelain castle), and the life-size models are still considered today to be the most important 18th century sculptures in porcelain. Obsessed with porcelain, the Elector-King Augustus ‘the Strong’ had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733. After his own porcelain factory was opened at Meissen in 1710, he became increasingly interested in the idea of Meissen surpassing Asian porcelain in quality. The culmination of this ambition was the incredible idea of a menagerie of life-size birds and animals made in porcelain. Menageries were an important component of displaying princely power, so perhaps it is not so surprising that a porcelain-crazed king should have commissioned a porcelain menagerie. Several of his palaces had animal enclosures, and his L?wenhaus (lion house) included a number of savage beasts which were used for animal fights and hunting. When wild and exotic animals were displayed during pageants they were intended to astonish the crowds, but their display was also designed to demonstrate the king’s power over these magnificent creatures, signifying his ability to bring order to the world. THE DEVELOPMENT OF THE JAPANESE PALACE In 1717 Augustus acquired the Holl?ndisches Palais (or Dutch Palace), installing part of his kunstkammer there in the same year: ‘His Royal Majesty bought the palace for a large sum of money in 1717 on account of its splendour and excellent situation, and has preserved it for posterity under the name of the Japanese Palace…Having done this, he had the world-famous kunstkammer brought to this palace three years ago from Neu-Dresden for the sake of good air.’ (1) This is the earliest reference to the palace as the Japanese Palace, and an indication of Augustus’s decision to create a Porzellanschloss. He had initially planned to remodel Schloss Pillnitz in the style of a ‘Saxon Versailles’ to house his expanding porcelain collection, but this didn’t come to fruition; the Dutch Palace was remodelled and expanded for this purpose instead. The king’s acquisition of porcelain was closely tied to his planned interior layout of the palace. A 1728 plan indicates that his porcelain was to be grouped according to colour or type, rather than used to furnish the palace in the traditional sense. The palace’s interior decoration was closely tied to the decoration of the porcelain, its walls to be clad in embroidered Indian satin and lacquer. Numerous alterations to the interior schemes were made by Augustus during the planning stage, but it is clear that he intended the ground floor to be furnished with Asian porcelain, and that the upper floor was to display Meissen porcelain. The porcelain from Meissen was to be grouped according to colour or type (celadon, purple or green coloured porcelain for example) (2), and visitors would pass along the Neustadt-side gallery where the animal models were to be displayed (the decision to display them here was made in the summer of 1730). The palace had the practical function of housing the collection, but it also had s

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拍品估价：300,000 - 500,000 英镑 起拍价格：300,000 英镑  买家佣金：
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