after the Meissen model, wearing a broad-brimmed hat, a gilt-edged yellow coat and striped trousers, standing with his arms raised before a tree stump applied with flowers and leaves, anchor and dagger mark in iron-red.

Some restoration to the brim of the hat and to his left hand. Minor chips to the applied flowers and leaves.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The inspiration for the Meissen model of Pierrot, created, circa 1744, for the Duke of Weissenfels series of Commedia dell' Arte figures, is found in François Joullain's engraving "Habit de Pierrot" for Histoire du Théâtre Italien by Luigi Riccobonis, Paris, 1728. The model was copied and adapted by Chelsea, circa 1755, an example of which is illustrated by George Savage, 18th-Century English Porcelain, pl. 24(b), and then subsequently by Bow several years later. A similar Bow figure is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, The Collection formed by Geoffrey Freeman, p. 136, no. 224. Another was sold at Sotheby's London, April 12, 2005, lot 126.