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拍品专文
The Pauls-Eisenbeiss example is illustrated by Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century, London, 1972, Vol. I, pp. 268-269, where other examples are also listed.
See Meredith Chilton, Harlequin Unmasked, Singapore, 2001, p. 138, fig. 225 and pp. 304-305, no. 93 for the example of this model in the Gardiner Museum of Ceramic Art, Toronto. Chilton suggests that the group could have been derived from a blend of two separate print sources. She suggests that the couple's pose could be derived from one of Petrus Schenk's series of twelve engravings, 'Les Amours de Columbine' (which show Columbine 'paired in amorous positions with almost every male member of the troupe') showing Columbine seated on Harlequin's lap (illustrated p. 138, fig. 226). She suggests that Harlequin's pose could be based on Gregorio Lambranzi's engraving from 'The New and Eccentric School of Theatrical Dancing', where Harlequin is shown 'concealed' on the ground and reaching up 'in order to steal from an unsuspecting blind beggar' (illustrated p. 138, fig. 227).
See Meredith Chilton, Harlequin Unmasked, Singapore, 2001, p. 138, fig. 225 and pp. 304-305, no. 93 for the example of this model in the Gardiner Museum of Ceramic Art, Toronto. Chilton suggests that the group could have been derived from a blend of two separate print sources. She suggests that the couple's pose could be derived from one of Petrus Schenk's series of twelve engravings, 'Les Amours de Columbine' (which show Columbine 'paired in amorous positions with almost every male member of the troupe') showing Columbine seated on Harlequin's lap (illustrated p. 138, fig. 226). She suggests that Harlequin's pose could be based on Gregorio Lambranzi's engraving from 'The New and Eccentric School of Theatrical Dancing', where Harlequin is shown 'concealed' on the ground and reaching up 'in order to steal from an unsuspecting blind beggar' (illustrated p. 138, fig. 227).