Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia Dell’Arte Couture Edition
Porzellan-Manufaktur Nymphenburg Collection
Commedia dell’Arte
Anselmo
Commedia dell’Arte
Capitano Spavento
Commedia dell’Arte
Colombine
Commedia dell’Arte
Corine
Commedia dell’Arte
Donna Martina
Commedia dell’Arte
Dottore
Commedia dell’Arte
Isabella
Commedia dell’Arte
Julia
Commedia dell’Arte
Lalage
Commedia dell’Arte
Leda
Commedia dell’Arte
Lucinda
Commedia dell’Arte
Mezzetino
Commedia dell’Arte
Octavio
Commedia dell’Arte
Pantalone
Commedia dell’Arte
Pierrot
Commedia dell’Arte
Scaramuz
Commedia dell’Arte: Dottore
Commedia dell’Arte: Dottore
Item
Designer
Year
Category
Collection
Series
Design
Motif
Detail
Decoration
Variation
Dottore is the most conceited person in the Commedia dell’Arte. A typical know-all, the Bustelli Dottore raises his right hand to his forehead asserting his “objection,” but his vast lore of knowledge soon turns out to be ignorant hearsay. He has nothing in common with a real scholar except his affected gesture. In reality, it’s his self-importance that matters. The extent of his vanity can probably be best measured by the excessive projection of the hips.
Dottore’s new look is opulent, commensurate with the character’s vast self-regard. From hat to footwear, he is covered with a filigree network of dark lines, mainly horizontal and vertical. In some places, differently coloured substrata show through beneath the irregular freehand lines. Some parts remain contrapuntally monochrome, in saffron yellow, rust red and turquoise. The fine hatching of the pattern is a perfect imitation of the look of leather subjected to the over-top-stitching technique, a typical feature of a Lins collection. In this, fine leather is unsystematically over-stitched with a multitude of threads. The end result is more than just an unusual pattern – it is virtually a new material, with the leather acquiring more and more of the soft, flexible character of delicate fabric.
In his Dottore design, Lins echoes a feature of another Bustelli piece, indicating the couturier’s close study of the manufactory’s historical designs. In his masterly bust of Count Sigmund von Haimhausen (the first director of the manufactory)[see p. 47], Bustelli made a clear distinction between the parts representing textiles and the areas representing human skin: he painted only the fabrics, leaving everything else in the natural porcelain colour. Lins does the same – Dottore’s hands and face are unpainted.
Individual figures are only available with Limit No. 16 – 25. It is not possible to order specific numbers. The figures will be supplied with a certificate in a gift box specially designed for the collection.
Item | 18.966 |
Height | 21 cm |
Length | 9 cm |
Width | 9 cm |