A pair of Meissen models of parrots circa 1740

modelled by J. J. Kändler, each with head turned slightly, holding a bright red cherry in its beak, each with green heads and body, pale yellow chest, blue and turquoise wings and red tail, each peched on a short tree stump applied with fruiting cherry branches and leaves (some restoration)

Olive, Lady Baillie, Lowndes House, London (dining room), acquired from Rosenberg, 3rd October 1958

London, Asprey, no. 2A and B

One facing right: restoration to both wings and tail. Restoration to 2 claws on right foot. Restoration to one cherry stem around base. One facing left: restoration to wing tip. restoration to claws on left foot.
"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."

Parrots were a symbol of the exotic par excellence and Kändler's models were among the factory's most frequently produced bird figures. When a large quantity of porcelain from the Meissen manufactory fell into Frederick the Great's hands, the inventory of the depository reveals that around one third of these were parrots, precisely 61 out of a total of 173 birds. While other species of birds were usually only of a single size, parrots were modelled in different sizes: soon after the life-size parrots for the Japanese Palace, Kändler created, in July 1735, two small parrots (12cm tall). Then, in spite of no further mention in his records, the following pieces are noted in the Dresden stockroom listing of porcelain for Count von Brühl dated July 13, 1737: '1 Pappagey groß / 3 ditto mittle. / 1 D. keiner' [1 parrot large / 1 ditto medium / 1 ditto small], Röbbig (2008), p. 128.

In May-October 1740, Kändler modelled new figures of parrots to match the ones already in the warehouse, 'in considerable size', ie. 19cm, the size of the present models:
'1: Einen Pappagoy in Thon poußiret große Sorte Vor Mons. Huiet. Daß solcher gegen den ehemals Von mir gefertigeten Pappagoy siehet.' [Modelled a large parrot in clay for Mons. Huet (Jean-Charles Huet, marchand-mercier). That this one is looking against the former model completed by me.]
'3: Zwey Pappagoyen Von Ziemlicher Größe auf einem großen Ast sietzend in Thon Poußiret Vor Mons. Huiet. Zwar daß solche gegen einander sehen.' [3: modelled in clay two parrots of suitable size, seated on a big branch for Mons. Huet. Namely, they are facing each other.]
'2. Zwey Pappagoyen Von Ziemlicher Größe aufs Waaren Laager in Thon poußiret und Sauberes Belege Zu deßen postamente gefertiget. Von zweyerley Arth.' [2: modelled in clay two parrots of suitable size for the warehouse and completed clean supports for their pedestals. Of two types.]

The lack of description seems to indicate that these birds were a generic type of parrot modelled by Kändler, as opposed to the Indian parrots or cockatoos modelled after life (see lots 84 and 86-88). As the three following pairs show - the model is identical, only the enamelling differs - these birds were most likely meant to be cabinet pieces. Only their sizes and painting would differ to please clients' expectations, especially French clients, like the Parisian marchand-mercier Monsieur Huët, who could then fit them with ormolu mounts.