Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we celebrate Mr. Punch’s three hundred fifty-second birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

Precious Time: The “Kylin” Clock, Mid-18th Century

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The "Kylin" Clock
Mid Eighteenth Century Case with
Mid Seventeenth Century Artifacts
Ormolu, Porcelain
Purchased by King George IV, 1820
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

Gilt bronze fruit, berries, stems, leaves and lotus flowers comprise the case of this highly ornamental clock which was initially constructed in the mid-Eighteenth Century by an unknown French clockmaker. This ornate construct was created to showcase Asian artifacts which include a pair of what is described as Chinese “Lions,” but which to me seem more likely to be Foo Dogs. These porcelain figures date to the mid-Seventeenth Century, and were incorrectly thought to be hybrid creatures of Chinese mythology called “Kylin,” hence the name of the clock. 

Other Seventeenth Century porcelain pieces included in the clock’s case are parts of a blue and white teapot, a Chinese bowl which has been inverted to accommodate the face of the clock and a Japanese Arita group of two boys which stand just above the dial.


King George IV purchased this clock in 1820 to add to his growing collection in his seaside monstrosity (which I say with affection and admiration)  at Brighton. As was often the case with George IV, he had the clock gutted, removing its works and replacing them with an updated French movement which ran for eight days between windings. In 1847, the clock was removed from the Brighton Pavilion and brought to the Pavilion Room at Buckingham Palace where it sits to this day on the mantle overlooking Royals as they eat their breakfast.

Recently, The Royal Collection, has released photos of this exceptional timepiece in its permanent home.

All Above Images:
Crown Copyright
The Royal Collection
Courtesy of Her Majesty Queen Elizabeth II

Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750
The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we approach Mr. Punch’s three hundred fiftieth birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

Her Majesty’s Furniture: The Brighton Pavilion Clothes Press, 1815

Clothes Press
Made for the Prince Regent, 1815
The Victoria & Albert Museum

A triumph of high-quality japanning, this cabinet and stand are inset with cartouches of actual Chinese lacquer-work. The cartouches are set in a background which has been adorned with delicate touches of gold paint to imitate the look of lacquered snakeskin. The doors of the case open to reveal three trays which have been veneered in expensive rosewood, exceptionally, on all sides.

This magnificent piece once belonged to a suite of furniture which (including a day bed and a sécretaire) which was designed by Frederick Crace for a bedroom at the Brighton Pavilion, the Orientalist fantasy palace commissioned by the Prince Regent (later King George IV).

Frederick Crace (1779-1859) was the son of the fashionable and celebrated decorator John Crace (1754-1819). Together, they supplied their high-tone London customers with numerous objects for the home ranging from textiles and ivories to furniture and art—mostly from East Asia.