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Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 18 September 2019, based on sample number C119n31, sets the firing date of all three samples taken between 900 and 1500 years ago, consistent with the dating above. A copy of the report accompanies this lot.
Expert’s note
The present camel displays a constellation of distinctive features that convincingly place it among the most accomplished examples of Tang-dynasty funerary sculpture known to date. Beyond its substantial scale, the extraordinary care devoted to its modeling sets it apart from most funerary objects of the period.
Particularly noteworthy are the naturalistically rendered legs, whose subtle articulation conveys an almost palpable sense of the underlying bone and musculature; the meticulously worked texture of the coat; and the animated head, with the tongue extended from the open mouth in a forceful bray, imbuing the sculpture with remarkable vitality.
The detachable saddle fitted between the two projecting humps further suggests that the camel may originally have supported a diminutive rider, perhaps an animal such as one of the monkeys occasionally represented riding Tang funerary camels—a distinctive conceit associated with some of the period’s most elaborate sculptural groups. Its imposing size, refined execution, and vivid expression would certainly have made the present camel worthy of such an illustrious camel-and-monkey-rider ensemble.
China, 618-906. Superbly modeled in a striding pose, the camel supported on slender legs beneath a full, rounded belly, its twin humps rising through two openings in the detachable saddlecloth. The body terminates in a small, upcurved tail, while the powerful arched neck is adorned with a finely detailed shaggy mane. The spirited head is raised with bulging eyes and a prominent muzzle, the mouth open to reveal the teeth and tongue.
Provenance: Collection of Dr. Rudolf Leopold, Vienna, Austria, and thence by descent. Dorotheum, Vienna, 23 March 2020, lot 85. Collection of Georg L. Hartl, Munich, Germany, acquired from the above and thence by descent in the family. Rudolf Leopold (1925-2010) was a renowned Austrian collector and one of the most influential figures in the preservation and recognition of 20th-century Austrian art. Over several decades, he assembled an exceptional collection distinguished by its depth, scholarly rigor, and particular focus on the works of Gustav Klimt and Egon Schiele, as well as other major artists of Viennese Modernism. Through his dedication to collecting, research, and advocacy, he played a decisive role in bringing international recognition to Austrian Expressionism and the artistic achievements of the early 20th century. In 2001, his collection became the foundation of the Leopold Museum in Vienna, establishing a lasting institution dedicated to the study, conservation, and presentation of modern Austrian art. Beyond European modernism, Leopold also maintained a broader interest in the art of other cultures, including a more discreet collection of Chinese art spanning different early dynastic periods, reflecting his appreciation for artistic expression across different historical and geographical contexts. Georg Luitpold Hartl (1939-2025) was a German art dealer specializing in Asian works of art who for nearly fifty years directed the Munich gallery Asiatica. Georg L. Hartl, continuing a family enterprise founded in 1932 by his father, Consul Josef-Maximilian Hartl, in Fuzhou, one of China’s historic treaty ports. Building on this early bridge between Europe and East Asia, he established the gallery as a respected source for Chinese ceramics, Buddhist sculpture, and scholar’s objects, serving collectors and museums internationally. An avid traveler and cosmopolitan in outlook, Hartl also served as Honorary Consul of the Republic of Congo. He owned and managed Schloss Egg in Bernried, Bavaria, a medieval castle acquired by his father in 1939 and operated as a restaurant and hotel from 1963 onward. In 2023, the municipality of Bernried named him an honorary citizen in recognition of his cultural and civic contributions.
Condition: Excellent condition, commensurate with age. Old wear, firing irregularities, small repairs to exposed areas, including at the tail and the hooves, minor chips, few minor cracks, losses to pigments, traces of burial, encrustations.
Weight: 37.5 kg (incl. base)
Dimensions: Height 94.4 cm (excl. base), 99.7 cm (incl. base)
With a fitted metal stand. (3)
The Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, the cosmopolitan nature of their design and the high technical skill employed in their manufacture as this pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality.
As China prospered as a result of trade with the west along the famous Silk Road, camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as 'the ships of the desert'. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan and Mongolia and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services.
In Tang dynasty funerary art, camels frequently appear in ceramic figurines and stone reliefs, symbolizing the status, cosmopolitan identity, and worldly refinement of the deceased. Their presence in tombs reflects both the significance of trade and long-distance travel during the Tang period and a desire for protection and guidance in the afterlife. Through these representations, the prosperity of the earthly realm was connected with hopes for spiritual well-being beyond death.
Literature comparison:
Compare a group of related painted pottery figures depicting a camel with groom and a dromedary, dated Tang dynasty, 105.4 cm high, in the Minneapolis Institute of Art, accession number 2004.205.1.1. Compare a related smaller painted pottery tomb model of a two-humped camel, dated early Tang dynasty, 7th century, 61 cm high, in the Brookly Museum, accession number 34.5703. Compare a related sancai figure of a camel showing a similar pose and expression as the present lot, dated Tang dynasty, in the British Museum, registration number 1915,0409.2. Compare a related earthenware camel with monkey, China, dated Tang dynasty, 91.5 cm high, in the Asian Civilizations Museum, accession number 2003-00227.
Auction result comparison:
Type: Related
Auction: Christie’s London, 5 November 2019, lot 4
Price: GBP 75,000 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing
Description: A massive painted pottery figure of a camel and rider, Tang dynasty
Expert remark: Compare the closely related subject and modeling, including a similarly detachable saddle bag, incised detailing to the legs, luxuriant tufts of fur, and a lively, animated expression. Note the presence of the rider and smaller size (78.1 cm).
Auction result comparison:
Type: Related
Auction: Sotheby’s New York, 9 September 2005, lot 253
Price: USD 120,000 or approx. EUR 174,500 converted and adjusted for inflation at the time of writing
Description: A superb 'camel-and-monkey' pottery group, early Tang dynasty
Expert remark: Compare the closely related subject and modeling, including a similarly detachable saddle bag. Note the different pose and the presence of a small monkey riding the camel.
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