Meissen models by Johann Joachim Kaendler, 1743/44, moulding and decoration shortly thereafter
He: 30.4 cm high, impressed number “45” twice, crossed swords mark to the unglazed base
She: 28.3 cm high, traces of a crossed swords mark to the unglazed base
Provenance: The figures originate from the collection of Maurice de Rothschild, Château de Pregny near Geneva, sold at Christie’s on 28 March 1977 (lots 136, 137).
Both figures are recorded in Kaendler’s work reports and in his TAXA:
Work report, September 1743 (Acevedo 2023 II, p. 149; Pietsch 2002, p. 99): “9. A Freemason modelled, with a pug dog standing beside him, together with apron and the usual instruments.”
TAXA (Rafael in Keramos 203/204, 2009, p. 54): “1. Freemason, standing well dressed on a pedestal with apron and other accessories, holding a ground plan in one hand; beside him a pedestal on which square, compasses, etc. are placed, 6 Thaler.”
Work report, June 1744 (Acevedo II, p. 174; Pietsch 2002, p. 103): “5. A lady standing well dressed on a pedestal, properly cut together with the two pug dogs beside her, and the model prepared in due manner for moulding.”
TAXA (Rafael in Keramos 203/204, 2009, p. 61): “1. Lady of the Order of the Pug, standing on a pedestal, holding a pug dog in her left hand with another lying at her feet, for the Princess of Herford, 10 Thaler.”
Although the figures were not originally conceived as a pair — as also indicated by the differing form numbers — the manufactory later elevated them to such a status. This becomes particularly evident in the design of the bases: while some examples are decorated with finely detailed vedute painting — as in our case — others imitate marble or display only floral borders (for example, the Freemason in the Pauls-Eisenbeiss Collection, 1972, pp. 204 f.).
In certain cases, pairing is clearly demonstrated by precisely coordinated decoration. Our figures represent such a “born pair,” as evidenced by the identical base design with uniformly applied gilding and finely painted landscapes within cartouches, the dominant violet palette, and the matching Indianische Blumen motifs that characterise the decoration of both figures.
The uniform decoration seen on our examples thus reveals the manufactory’s intention to establish the originally separate models retrospectively as a pair.
Comparative examples:
The figures are represented in major collections, though usually not as born pairs, as shown by the differing base decoration:
Only in a few cases were the figures conceived as matching pairs, such as:
