Pair Mottahedeh Porcelain Elephant Candlesticks Winterthur Museum Reproduction, 1970s

A striking pair of Mottahedeh porcelain elephant candlesticks, produced in collaboration with the Winterthur Museum and inspired by 17th-century Chinese joss stick holders. Richly decorated and sculptural in form, these mirror-image elephants bring both historical reference and bold decorative presence to a room.

This pair of porcelain elephant candlesticks by Mottahedeh faithfully reproduces a 17th-century Chinese export design held in the collection of the Winterthur Museum, once part of the DuPont estate. Modeled as mirror-image elephants with raised trunks, each figure supports a candle cup emerging from a stylized saddle, decorated in iron red, famille verte enamels, and gilt detailing.

Originally conceived as joss stick holders for incense, the form has been adapted here for use as candlesticks, comfortably accommodating standard taper candles. The modeling is crisp and expressive, with well-defined features and a balanced palette that reflects traditional Chinese export decoration interpreted through Mottahedeh’s historically informed production.

Marked to the underside “Mottahedeh” and “Winterthur Reproduction,” this pair dates to the 1970s and represents one of the firm’s most successful collaborations in bringing museum-held designs into functional decorative objects.

A sculptural and decorative pair that reads equally well in traditional, maximalist, or globally influenced interiors.

Measurements & Details

• Maker: Mottahedeh

• Origin: Portugal (typical of Mottahedeh production)

• Date: 1970s

• Material: Porcelain with hand-painted enamels and gilt accents

• Dimensions (each):
  9ʺ W × 6.5ʺ D × 9.75ʺ H

• Function: Candlesticks (originally based on joss stick holders)

Condition Report

Very good vintage condition.
Light surface wear consistent with age, including minor rubbing to gilt and enamel in high points.
No chips or cracks observed.
Cork pads present to underside of feet.

📚 Collector’s Note

The original models for these figures belong to a group of Chinese export porcelains made for Western markets in the late 17th–early 18th century, when figural incense holders were adapted into animal forms that appealed to European taste. Elephant imagery—associated with strength, protection, and good fortune—was particularly favored.

Mottahedeh’s collaboration with the Winterthur Museum reflects a mid-20th century effort to reproduce important historical designs with a high degree of fidelity. Pieces such as these occupy an interesting space between reproduction and scholarship, translating museum-held objects into functional forms while preserving their decorative language.