A SUPERB Nymphenburg Commedia D.Elle Arte figure of Leda, C.1760. MODELED by  FRANZ ANTON BUSTELLI. If we look at these muted beautiful colours of her purple dress and yellow bodice, then they are very similar to those found on Marcolini Meissen porcelain. Also from the late 18th century. I also see these colours on Worcester and Chelsea/Derby porcelain from the late 18th century. The same for her face. The very fine modelling, all tell me Bustelli mid to later in the 18th century. The shape of the base is also typical of Marcolini Meissen, and very flat unglazed underside of base with airhole. Not found on the later figures. 

THIS FIGURE HAD BEEN LOOKED AT BY THE LONG TIME EXPERT AT CHRISTIES, who wanted to enter in a future sale, at £8,000 to 10,000 or £10,000 to £12,000 plus premium (30% with tax) but we have decided to offer direct.  Please see below for information on Leda and Bustelli.

FACTORY MARK:- Bavarian impressed shield to the underside of the base. 

Size:- 7 ins high. Quite large.

CONDITION:- AMAZINGLY,  ALMOST PERFECT. NO CHIPS, NO CRACKS OR HAIRLINES, AND NO RESTORATION. AMAZING TO THINK THAT RAISED ARM IS UNDAMAGED AND ORIGINAL. To be super critical and 100% accurate, then I note the end of her thumb missing.

Franz Anton Bustelli’s Leda is shown as an energetic figure busily stopping the tempestuous Capitano Spavento from getting into trouble. He is besotted with the bewitching Isabella, and in his pique at Octavio’s supposed success with her is ready to stab his rival with a dagger. However, Leda manages to re-establish peace with a pacifying gesture. In Pascal Millet’s design, the dynamism and movement in her posture and dress are paired with great lightness and elegance.

The artistic director of Parisian couture house Carven took the instruction to think how the figures of the Commedia dell’Arte might be dressed today as the literal starting point for his design. The expansive floral patterning on Leda’s dress and shoes cites a fabric from the long-established fashion house’s last collection, while the hems and ribbons echo the green house-colour of Carven. On closer inspection, what initially seems a white background on the dress is in fact a delicate beige. The pattern plate displays precise details of pigments and colour densities to be used, as well as sample features of the design. The porcelain painters use this information to set about the highly precise process of painting the flowers and leaves on the gown.