Details
Each naturalistically modeled with its head turned, perched on a tree-stump applied with leaves, one also with a beetle, a caterpillar and a cluster of shelf-mushrooms, mounted as three-light candelabra with porcelain flowers to the scrolling arms, on a naturalistically cast ormolu mound base raised on pierced scrolling feet
147⁄8 in. (37.7 cm.) high, overall
Provenance
With A La Vieille Russie, New York.
Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 3 November 1965.
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Lot Essay

Kändler created his first model of a waxwing in January 1741, and the entry in his work report reads: Einen Vogel in Ziemlicher Grösse, Ein Seyden Schwanz genannt Welcher auf einen Starcken Aste aufs Sauberste nach der Natur Vorgestellet und nach poussiret ist [a bird, of fair size, of the type known as a waxwing, molded entirely according to nature](1). Kändler must have gotten Johann Gottlieb Ehder to complete the companion model as Ehder’s Arbeitsberichte [work report] records the second companion model completed over a period of two months between July and August that year. The July entry reads: Einen Vogel, den Seyden-Schwantz genant, in Thon angelegt [1 bird of the type known as a waxwing, created in clay](2), and the August entry reads: Einen Vogel, den Seiden Schwantz genannt, rein bossiret [1 bird of the type known as a waxwing, cleanly modeled](3). For other examples of this model, see the pair formerly in the Irwin Untermeyer collection and now in the Metropolitan Museum of Art, New York (obj. no. 64.101.37), illustrated by Yvonne Hackenbroch, Meissen and other Continental Porcelain, Faience and Enamel in the Irwin Untermyer Collection, London, 1956, pl. 15, fig. 21, as well as the pair at Burghley House, United Kingdom (ref. no. CER0660).

1. Cited by Ulrich Pietsch, Die Arbeitsberichte des Meissener Porzellanmodelleurs, Johann Joachim Kaendler, Leipzig, 2002, p. 76.
2. Cited by Sarah-Katharina Andres-Acevedo, Die Autonomen Figürlichen Plastiken Johann Joachim Kaendlers und seiner Werkstatt, Stuttgart, 2023, vol. 1, p. 241.
3. Cited by Sarah-Katharina Andres-Acevedo, ibid., 2023, p. 242.

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