Circle of Antonio Begarelli (1499-1565), Italian, Modena, late 16th century

Bust of beardless man: The head has been reattached under the chin, there is some restoration to the lower right of the chin. There are restored cracks across the eyes and bridge of nose. The top of the head with restored cracks and other minor related hairline cracks. There is some restoration around the base of the neck. There is avertical restoration to the tunic. There is evidence of some restoration to the right side of the cloak and few related hairline cracks. Bust of bearded man: There is a larger restored area to the forehead. There are some cracks including a vertical crack running down to proper left of the nose and a crack running across the eyes. There are some cracks to the head and an area of restoration to the back of the head. There are some minor cracks to the cloak. Some of the cracks may be original firing flaws.
"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."

The present pair of terracotta busts, remarkable for their quality of modelling, size and technical mastery demonstrates the direct influence of Antonio Begarelli and his workshop.  The realistic facial expressions, the articulation of the beard and hair, and the manner in which the collar of the cloaks of the two men wrap around the busts' necks can be compared to Begarelli's full–length figures of San Pietro and San Lorenzo from the church of San Benedetto Po, Modena.

The Emilia-Romagna region of Italy lacks stone and marble quarries.  As a result, clay became the preferred medium of sculptors from the area in the early-Renaissance.  In fact, terracotta replaced marble as the material used for both religious and secular programmes of great importance.  Nicolò dell'Arca and Guido Mazzoni were particularly influential in the development of the Emilian style of terracotta modelling, which is marked by realism, expression and technical mastery.  The sculptor Antonio Begarelli proceeded dell'Arca and Mazzoni and in the 16^th century, he was the dominant force in terracotta production in Modena.  His style and technique reveal the influence of Antique sculpture as well as contemporary Rapheal-influenced painting of his contemporaries.

These busts, probably depicting saints, were intended to be viewed within an architectural framework from below to appear monumental.

RELATED LITERATURE
U. Schlegel, 'Eine neuerworbene Christusbuste des Ludovico Begarelli', Berlin. Mus.: Ber. Staatl. Mus. Preuss. Kultbes., vol. xi (1961), pp. 44–51; R. W. Lightbown, 'Correggio and Begarelli', Art Bulletin, vol. xlvi (1964), pp. 7–21; S. Zamboni, Antonio Begarelli (Milan, 1966)