Johann Joachim Kaendler

Exhibited by Elfriede Langeloh

Material Porcelain

Dimensions 15.7 cm

Place of Creation Meissen

Status Vetted

About the Work

The Greeting Harlequin belongs to the renowned series of Kaendler’s “10 Large Harlequins” (Exhibition Catalog Kraków, 2024, no. 51; Chilton: Harlequin Unmasked, 2001, no. 78), which Kaendler created between 1738 and 1742 (Chilton, p. 189, no. 77, fig. 199, p. 126). This series played a fundamental role in establishing his reputation as one of the most important porcelain modelers of the 18th century.

In her seminal work "Harlequin Unmasked" (p. 189, final paragraph), Meredith Chilton highlights the expressive and monumental presence of the Greeting Harlequin, stating that Kaendler far surpassed his graphic source.

Kaendler drew inspiration from one of Watteau’s earliest paintings, the now-lost "Départ des Comédiens Italiens" (1697), which was engraved by Louis Jacob (see Dacier/Vuaflart IV, no. 184; Menzhausen, In Porzellan verzaubert, 1993, p. 60).

Kaendler mentions the figure twice in his TAXA (Rafael in Keramos 203-204/2009): No. 5: "Arlequin mit seinem Hute ein sehr tieff Compliment machend" (p. 46). No. 24: "1. Theatralischer Kerl mit dem Huth ein Compliment machend" (p. 47).

Comparative figures can be found in prominent private collections and museums, including: Gardiner Museum, Toronto; Germanisches Nationalmuseum, Nuremberg; Metropolitan Museum of Art, New York; Wadsworth Atheneum, Hartford.

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