A Nymphenburg white figure of Donna Isabella, modelled by F.A. Bustelli, circa 1760

turned to her left, wearing a choker and a long dress with broad cuffs, on a flat base of scroll outline, impressed shield mark (some restoration)

Christie's London, 3 June 1996, lot 383

hands and cuffs restored
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Franz Anton Bustelli joined the Nyphenburg factory in 1754, the year when they succeeded in firing porcelain. In 1759-1760, the modeller created a set of eight pairs of Commedia dell'Arte males and females after the two series of engravings by Martin Engelbrecht, Commedia Characters, published around 1740 and known to be among Bustelli's collection. These are considered as the most beautiful and refined porcelain sculptures of the 18th century. As Katarina Hanstchmann says, "these graceful figures with their expressive movements and lively modelling [were] have even been described as the essence of the rococo, and they do in fact  splendidly embody the elegant court ladies and gentleman of the gallant  age in the new, fragile material of porcelain".

Donna Isabella was created as a pair with Ottavio. Their very fashionable clothes and elegant pose mean that they are a perfect match. Isabella's posture however, according to the Italian language of gestures, indicates that she recoils but is very attracted by her admirer, her left indicating "adagio" (slowly), while her right indicates "amore" (love). For a full discussion and explanation, see Katarina Hanstchmann, "Franz Anton Bustelli's Comedy Figures for the Nymphenburg Porcelain Manufacture", in R. Jansen, op. cit., pp. 48-54. For a painted model, see Jansen, fig. 197.