31. Höchst porcelain statuette of Bagolin, circa 1752 A Höchst figure of Bagolin from the Commedia dell'Arte, circa 1752 Modelled by Johann Christoph Ludwig von Lücke, standing on a gilt-edged pedestal with tree-stump support at the rear, playing the lute, wearing a black hat and cloak, yellow and red-striped costume with gilt trim to the sleeve and white ruff collar, the pedestal moulded with a recessed panel at the front embellished in gilding, 21cm high, wheel mark in iron-red (neck of instrument restored) Literature: Reber, Horst, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 1984, p. 30; Jansen, Reinhard (ed.), Commedie dell'Arte: Fest der Komödianten, 2001, cat. 151; Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 101, cat. 60 Exhibited: Höchst, Jahrhunderthalle, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 9 December 1984 to 9 January 1985; Berlin, Schloss Charlottenburg, Commedia dell'Arte: Fest der Komödianten, 14 July to 14 October 2001; Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010; Hohenberg an der Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023 Bagolin was one of the many zanni, or stock servant figures, from the commedia dell'arte, although he appears less frequently than other such figures like Scaramouche or Mezzetin. The modeller for this series, Johann Christoph von Lücke, probably copied the name, pose, and accoutrements from the eponymous engraving by Johann Jacob Wolrab (Nürnberg, ca. 1720). For a more comprehensive discussion of Höchst commedia dell'arte figures, see Horst Reber, "The Höchst Italian Comedy series" in Hugo Morley-Fletcher, Early European Porcelain and Faience as collected by Kiyi and Edward Pflueger, vol. I, 1993, pp. 100-128; and H. Reber, "Die Commedia de;'are an der Höchster Porzellanmanufaktur," in Reinhard Jansen (ed.), Commedia dell'Arte: Fest der Komödianten, 2001, pp. 138-144. A comparable example is in the Metropolitan Museum of Art, New York, inv. 1982.60.223, formerly of the Jack and Belle Linsky Collection, as well as in the Museum of Fine Arts, Boston, inv. 2006.866, formerly of the Kiyi and Edward M. Pflueger Collection.