A pair of gilt-bronze-mounted Meissen porcelain models of pugs, the porcelain circa 1745-50, the mounts in Louis XVI style

modelled by J.J. Käendler, each with a seated dog on gilt-bronze tasselled cushions, on shaped bases, the pup's front left leg restored,

Model of pug with puppy: The front left paw has two chips. The puppy's front left leg has been restored, with an associated area of restoration to the large pug's rear right paw. The model without a puppy: There is a flake to the black enamel of his snout with some retouching to the surrounding area, the black enamel of the right eye pupil has also been retouched. Gilt-bronze : Gilding slightly darker and more attractive than in the catalogue photograph. Minor rubbing to corners as visible from the catalogue photograph and very minor pitting which is hardly noticeable.
"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."

Comparative Literature:
Rainer Rückert, Meissener Porrzellan 1710-1810, Bayerisches Nationalmuseum, 1966, p. 269, no. 1094.

Kändler's Taxa or work record for 1741 includes '1 Mittelmäßiger Möpßhund mit einem jungen Möpßgen natürl. vorgestellet, vor Ihro Maj. den König.' [A medium-size pug dog with a young pug naturally depicted, for his Majesty the King], which could be referencing the present model. Another example is illustrated by Carl Albiker, Die Meissener Porzellantiere im 18 Jahrhunderts, 1959, pl. 194. In the same year Kändler notes, 'Ein Mopß Hündigen, wie er an dem alten säugt' [A pug dog as he suckles at the old]

Pug dogs were immensely popular in Germany in the 1740's and were a symbol of the Order of the Pug or Mopsen Order, founded in Germany as a pseudo-masonic society following the excommunication of the Freemasons in 1738. Porcelain pugs were very fashionable and exported to France to be mounted with gilt-bronze by the Parisian marchands-merciers. The decoration and pose of the pugs with their naturalistic colouring is typical of the wares produced by Meissen during the rococo period.

The pug dogs were modelled by Johann Joachim Kändler (1706-1755) in 1741 and several variations on this model were produced by the Meissen factory over the following three years. One version was modelled on the dog belonging to Count Brühl, the director of the factory. There is a female example illustrated by Ruckert op. cit., p.269, no. 1094, which has been dated to 1749 and he records that smaller versions of the offered model but facing in the opposite direction were made in 1741 for Augustus II.  

The inventory taken after Madame de Pompadour's death in 1764 records as coming from the Château de Compiègne, which illustrates the popularity of these pug dogs amongst the arbiters of taste:

`1731 Four painted and gilded yellow brass branches, with porcelain flowers and two Saxe dogs, one of which is mutilated....XXXVI.'

Johann Joachim Kändler (1706-1755): Kändler first worked on the fittings of the Grünes Gewolbe and caught the attention of Augustus the Strong and although he trained as a sculptor, in 1731, he was sent to Meissen to work with Johann Kirchner on the production of birds and animals on a  large-scale for the Porzellanschloss. He was appointed chief modeller in 1733 a title he retained until his death. He worked from life in his modelling which was highly unorthodox, which accounts for the great naturalism and sense of movement  in his work. From 1736, he also became involved in the production of smaller figures many of which were based and adapted from French engravings which had been sent to the factory.