Chinese Tang Terracotta Horse

Bactrian camel modelled in the round in a kneeling pose on a polygonal base; saddle bags heavily laden with goods; semi-naturalistic anatomical and facial detailing, short tail held aloft; remains of polychrome painted pigment. 4 kg, 28 cm high



Ex Hong Kong, collection, 1990s. Accompanied by an original thermoluminescence analysis report no.C122k20 from Oxford Authentication. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Seated in an attitude of tranquil ease, right arm resting on the raised right knee and left one supporting the weight of the upper body; characteristic elongated earlobes, downcast eyes and slightly pursed lips; wearing an elaborate tall crown and embroidered voluminous robes. 73.5 kg, 1.75 m



Ex West Country, UK, collection, 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12561-231042. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Bodhisattva Guanyin is a divine being who attained enlightenment but chose to stay in the world to help others. The name Guanyin is an abbreviation of Guanshiyin, meaning: “Perceiver of the World’s Sounds”, and is thought to have responded to the calls of those in peril.

Modelled standing on a tiered base; wearing a tall hat, a floor-length robe and boots; arms held in front of his body above a drum strapped to his waist; green and brown glaze. 494 grams, 24 cm



Ex H.N. collection, Milton Keynes, UK, 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

China provides some of the earliest traces of music making. These are mainly in the form of well-preserved musical instruments, the tangible evidence of music. Over several millennia, musical instruments from regional indigenous traditions as well as from India and Central and West Asia were assimilated into the mainstream of Chinese music. Some of the most ancient instruments have been retained, transformed, or revived throughout the ages and many are in common use even today, testifying to a living legacy of a durable art. This legacy is frequently celebrated in the visual arts of China, documenting rituals and celebrations, or as status symbols of those whose lives were enhanced by the resonate sounds of instruments. Ancient Chinese people believed they would go to an afterlife when they died. So they placed miniature versions of things for everyday use in tombs for the deceased, such as these musicians, hoping that the dead could enjoy the next life like when they were alive. These grave objects gradually developed into funerary artworks and reflected the social standing of the deceased.