naturalistically modeled in spirited pose with a briskly raised right foreleg and head uplifted and turning slightly leftward, mouth agape, flaring nostrils and bulging eyes, the forelock flaring and swept back towards the cropped mane, the tail docked and bound, the muscular body covered in a dark chestnut-colored glaze, the forelock, mane, blaze and tail picked out in a pale-yellow straw glaze

Collection of Dr. Edith B. Farnsworth (1903-1977).
Gifted to the Art Institute of Chicago, Chicago, in 1969 (acc. no. 1969.947).

The figure with numerous restored breaks through the body, the restoration discolored and flaking in several places. There is restoration to extremities, tail, ears and all four legs -the prancing leg with a loose, clean break across the lute line at the top.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Among examples of similarly posed prancing horses, glazed examples are extremely rare.  The application of the viscous, colorful glazes is more usually seen on horses in static poses which are often embellished with elaborate saddles and trappings, providing a texturally rich surface for decorative glaze patterns. The dynamic pose with its animated prancing and turned head imbue the figure with vitality and convey the high regard bestowed upon similarly well-bred and highly trained horses at the time.  Horses during the Tang dynasty were symbols of wealth and power and horse breeding reached its apex during this period when most of the prestigious breeds from Central Asian countries such as Samarkand, Khotan and Gandhara were introduced to China.  The Tang aristocracy’s love for horses is much exemplified by the present horse which is represented unencumbered by any trappings or saddle, allowing the artisan to draw focus to its powerful physicality and spirited nature. The naturalistic choice of an amber glaze enhances the strong linear contours of the modeling and harmonizes perfectly to form an elegant beast that is as much animated as it is poised. Only three other glazed examples of similar form appear to be known; an amber-glazed horse that closely resembles the present figure is illustrated in Tang, Eskenazi, London, 1987, cat. no. 39; a smaller figure was offered in our London rooms, 9th June 1992, lot 97 and a straw-glazed prancing horse with amber-glazed splashes from the British Rail Pension Fund collection sold in our London rooms, 12th December 1989, lot 60 and again in these rooms, 20th March 2019, lot 650.