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Mon 27 May

JOSEP CAÑAS I CAÑAS (Banyeres del Penedés, 1905 - El Vendrell, 2001). Female bust. White marble. Signed on the right side. On green marble base. Measurements: 37 x 20 x 22 cm (sculpture); 6 x 24 x 17 cm (base). A self-taught sculptor, Josep Cañas took some courses at the School of Arts and Crafts in Villanueva y la Geltrú, and soon came into contact with artists such as Damià Torrents and Joaquín Mir. In 1925, after a period in Sitges, Cañas settled in Barcelona, where he joined the Círculo de Sant Lluc and the Real Círculo Artístico, being a member of the board of directors of the latter. During these years he devoted himself to landscape painting, and in 1927 he took part in the Second Art Exhibition of the Penedès, held in El Vendrell. He also dedicated himself to theater during these years, and in 1927 he premiered his first play. Two years later he took part again in the Penedès Exhibition. In 1930 he set up his first studio in Barcelona, thanks to a grant from the Diputació de Tarragona, and in 1932 he held his first individual exhibition in the Sala Parés. From these years on, Cañas showed his work regularly at the Salón de Montjuic. In 1935 he is granted a travel grant by the Generalitat, which allows him to travel to London to visit the British Museum, and later to Paris. On his return, in 1937 he was appointed secretary of the Casal de Cultura de Cataluña, although he declined the appointment to go to fight on the Ebro front. There, however, he did not enter combat, but dedicated himself to making the models commissioned by the General Staff. Once the war was over, in 1942 he won the prize for sculpture at the National Exhibition of Fine Arts, and the Museum of Modern Art in Barcelona acquired one of his works. The following year he works with Ignacio Zuloaga, and in 1947 he holds an exhibition at the Museum of Modern Art in Madrid, in which the Institute of Hispanic Culture acquires one of his works to take him to America. He then embarks accompanying the work, which is installed in Carmel, California. In this same city he will hold an exhibition of works made there, the following year. He then travels to Mexico, where he stays for several years and holds several exhibitions of his work, held between Mexico and New York. In 1954 he exhibited at the National Museum of Anthropology in Mexico, and the following year he left the country to participate in the Hispano-American Biennial held in Barcelona, where he was given a room of his own. Once settled in Spain again, he continues to exhibit his work in prestigious galleries such as the Parés in Barcelona, the O'Hana in London or the Museum of Modern Art in Madrid, and to carry out important commissions for the Museum of Geneva and other important clients. In 1957 he won a medal at the National Exhibition of Fine Arts, and in 1964 he inaugurated the relief "La Sardana" in the Retiro Park in Madrid, commissioned by the Casal Català of this city. His public and official recognition will only grow, books are published with his work and he is awarded honors such as the Cross of Sant Jordi of the Generalitat de Catalunya, in 1986, or the appointment of illustrious son of his hometown.

Estim. 2 400 - 3 000 EUR

Mon 27 May

Herma of Mars. Roman. 1st-2nd century A.D. Marble. Provenance: Private collection Dr. Angelo Bergamo, New Jersey, USA. Acquired in the 1970s from Harmer Rooke Galleries, New York. Private collection, West Coast, USA. Acquired by inheritance. Conservation: Very good condition, both of the figure and the marble surface. Minor losses to the edges of the ears and beard, as well as to the crest at the top of the helmet, with a small repair to one edge of the ear. It has also lost the tip of the nose. Measurements: 22,3 x 12,8 x 7 cm. This marble bust representing the god Mars crowned a rectangular pillar usually called Herma, in honor of Hermes. Hermas initially represented Hermes, but in Roman times it is common the representation of the god of war, Mars, characterized as a battle-hardened and bearded young man, wearing a helmet with a plume, ready for battle. The quality of the carving can be appreciated in the delicate curly locks of the beard, which respond to deep incisions, and in each of the physiognomic details. In Roman mythology, Mars had many attributes, he was the god of war, male virility, violence, passion, sexuality, bravery. He also held the title of patron of Roman warriors, of horror and victory in wars, of perfection and beauty. The hermas were pillars on which the bust was placed (in Greek times, it had been that of the god Hermes). They were in great demand by the Romans with a certain purchasing power to decorate their houses and villas. They were also used as posts for ornamental garden trellises, in which case they were usually adorned with the busts of philosophers or great personalities. During the Empire, the function of hermas was more architectural than religious.

Estim. 25 000 - 35 000 EUR

Tue 28 May

Sarcophagus fragment; Roman Empire, 3rd century AD. Alabaster. Measurements: 56 x 24 cm. Fragment of Roman sarcophagus of oriental style, carved in half bulk in alabaster and dated in the 3rd century A.D. It represents a female figure standing, naked, with the left arm bent and supported on the hip and the left arm extended to the side. At the feet of the figure we see a vessel with a balustered body. The woman appears standing on an architectural base supported by straight corbels, reminiscent of a classical entablature. The composition is topped by an upper frieze with a relief representation of a fantastic animal in profile, a hybrid beast with the wings and hindquarters of a lion, depicted in an expressive position with its head turned backwards, thanks to the stylized snake neck, which defines an elegant curve. The Romans brought two important novelties to the world of sculpture: the portrait and the historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire. Thus, numerous copies of Praxiteles, Lysippus and classical works of the 5th century B.C. were produced, giving rise to the Neo-Attic school of Rome, the first neoclassical movement in the History of Art. However, between the end of the 2nd century BC and the beginning of the 1st century BC there was a change in this purist Greek trend, which culminated in the creation of a national school of sculpture in Rome, from which emerged works such as the Altar of Aenobarbus, which already introduced a typically Roman narrative concept, which would become a chronicle of daily life and, at the same time, of the success of its political model. This school will be the precursor of the great imperial art of Augustus, in whose mandate Rome became the most influential city of the Empire and also the new center of Hellenistic culture, as Pergamon and Alexandria had been before, attracting a large number of Greek artists and craftsmen. In the Augustan era Rome contributed to the continuity and renewal of a tradition that had already enjoyed centuries of prestige, and which had dictated the character of all the art of the area. In this new stage, Greek aesthetics and technique will be applied to the themes of this new Rome. After the idealization of the Augustan era, the realism of the Flavian era and the subsequent baroque style of the second and third centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanize, to become more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematization that sought to capture the ideal, the soul or the divinity, and not the human aspect of the figures. The carving, in correspondence with this new aesthetic, acquires a great hardness, and the figures acquire a noble hieratism.

Estim. 2 800 - 3 000 EUR

Tue 28 May

Fragment of Greek stele, 4th century BC. Hardened limestone. Measurements: 31 x 34 cm. Fragment of a Greek funerary stele, dated to the 4th century BC and carved in limestone, representing two seated figures, a man and a woman. It is probably a representation of the deceased couple, although we can notice the presence of a third figure, who rests his arm on the shoulders of the male character. Both figures are dressed in tunics, the woman with a veil over her head and the man with a cloak. They are represented in serene and balanced but naturalistic attitudes, showing the progress towards realism and expressiveness of Greek sculpture of the Hellenistic period. Hellenistic sculpture represents the final period of the evolution of Greek sculpture, and developed in the period between the death of Alexander the Great, in 323 B.C., and the conquest of Egypt by the Romans, between 30 and 31 B.C. It is an eclectic, secular and historicist language, which takes as its starting point the heritage of classical sculpture of the previous period, to which new oriental influences are added. It also meant the improvement of the representation of the anatomy and human emotional expressiveness, as well as a fundamental change in aesthetics, which leaves aside the ideal to represent the individual, moving from the generic to the specific. Thus, the previous ethical and pedagogical ideal is abandoned in favor of a new emphasis on everyday human aspects, in an art that will have the aesthetic as its main purpose, although occasionally it will also be propagandistic. This new interest in man and his inner life, his emotions, problems and longings, will result in a realistic style that has to emphasize the dramatic, the prosaic and movement. In addition, Hellenism brought the first individualized and plausible portraits of Western art. The subject matter will also be expanded to include depictions of old age and childhood, minor non-Olympian deities and secondary characters from mythology, as well as popular figures in their daily work.

Estim. 3 200 - 3 500 EUR

Tue 28 May

Female bust; Rome, 2nd century A.D. Marble. It shows superficial wear, erosion and material losses. Measurements: 22 x 15 x 13 cm. Roman white marble bust of a young woman. The piece has a serene face with almond-shaped eyes with an expressive look and slightly pursed lips, as well as a high hairstyle with wavy hair, with a cape or scarf on the head. It should be noted that the sculpture would probably have been polychrome, as was usual in many works of the Roman Empire.The Romans brought two important innovations to the world of sculpture: the portrait and the historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire. It shows surface wear, erosion and material losses.

Estim. 9 000 - 10 000 EUR

Tue 28 May

Priapus. Hellenism, Greece, 2nd - 1st century BC. Marble. Provenance: Private collection, London, acquired between the 1960s and 1980s. Good state of preservation, no restorations. It has lost the left forearm and the lower part of the legs. Measurements: 24 cm high. This sculpture entirely made of marble represents Priapus, carved in round bulk. He was a minor god, a rustic divinity of fertility. His main attribute is a large erect phallus, symbol of the fertilizing force of nature. Here he is shown smiling and wrapped in an open tunic that slides down his shoulders and exposes his genitals. During the Hellenistic period, Greek sculpture underwent a major transformation, and this was particularly noticeable in the capture of emotions. This is magnificently expressed in the laughing countenance of our Priapus. Hellenistic sculpture represents the final period of the evolution of Greek sculpture, and developed in the period between the death of Alexander the Great, in 323 B.C., and the conquest of Egypt by the Romans, between 30 and 31 B.C. It is an eclectic, secular and historicist language, which takes as its starting point the heritage of classical sculpture of the previous period, to which new oriental influences are added. It also meant the improvement of the representation of the anatomy and human emotional expressiveness, as well as a fundamental change in aesthetics, which leaves aside the ideal to represent the individual, moving from the generic to the specific. Thus, the previous ethical and pedagogical ideal is abandoned in favor of a new emphasis on everyday human aspects, in an art that will have the aesthetic as its main purpose, although occasionally it will also be propagandistic. This new interest in man and his inner life, his emotions, problems and longings, will result in a realistic style that has to emphasize the dramatic, the prosaic and movement. In addition, Hellenism brought the first individualized and plausible portraits of Western art. The subject matter will also be expanded to include depictions of old age and childhood, minor non-Olympian deities and secondary characters from mythology, as well as popular figures in their daily work. Good state of preservation, without restorations. It has lost the left forearm and the lower part of the legs.

Estim. 14 000 - 18 000 EUR

Tue 28 May

Figure of Silvanus; Roman Empire, 2nd century AD. Marble. Provenance: private collection, Los Angeles, USA, mid-1990s at Quatrain Inc; private collection, London, acquired in New York, 2015; private collection, Madrid. In good state of preservation. It has lost half of its head, the lower part of its legs and the cypress trunk that it held in its right hand. Measurements: 46 cm. Roman sculpture in marble representing Silvanus, a tutelary spirit of the fields and forests. In relation to the forests, he presided especially over the plantations and enjoyed the trees that grew wild, which is why he is represented (as on this occasion) carrying the trunk of a cypress tree. Regarding this tree, however, the following story is told: Silvanus was in love with the young Cipariso. Fortunately, he once accidentally killed a doe that belonged to him. Cipariso died of grief and was transformed into a cypress tree. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece through the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 BC, the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 BC, most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, which were very fashionable at the time in the capital of the Empire. Thus, numerous copies of Praxiteles, Lysippus and classical works of the 5th century BC were produced, giving rise to the Neo-Attic school of Rome, the first neoclassical movement in the history of art. However, between the end of the 2nd century BC and the beginning of the 1st century BC there was a change in this purist Greek trend, which culminated in the creation of a national school of sculpture in Rome, which produced works such as the Altar of Aenobarbus, which introduced a typically Roman narrative concept that became a chronicle of everyday life and, at the same time, of the success of its political model. This school would be the forerunner of the great imperial art of Augustus, during whose reign Rome became the most influential city in the Empire and also the new centre of Hellenistic culture, as Pergamon and Alexandria had been before it, attracting a large number of Greek artists and craftsmen. In the Augustan era Rome contributed to the continuity and renewal of a tradition which had already enjoyed centuries of prestige and which had dictated the character of all art in the area. In this new phase, Greek aesthetics and technique were applied to the themes of this new Rome. After the idealisation of the Augustan period, the realism of the Flavian era and the subsequent Baroque style of the 2nd and 3rd centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanise, becoming more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematisation that sought to capture the ideal, the soul or the divinity, rather than the human aspect of the figures. The carving, in keeping with this new aesthetic, acquired a great hardness, and the figures acquired a more realistic and symbolic quality.

Estim. 28 000 - 30 000 EUR

Wed 29 May

POMPEO MARCHESI - (Saltrio, 1783 - Milan, 1858) Bust of a gentleman Marble Signed and dated in the border P. Marchesi f. Milan 1828 Minor defects, few chipping and missing, slight scratches H. cm 51 (total h. cm 64), W. cm 49, D. cm 40 A MARBLE BUST BY POMPEO MARCHESI; MINOR DEFECTS, FEW CHIPS AND LOSSES, MINOR SCRATCHES Pompeo Marchesi, among the most important exponents of Lombard neoclassicism, after his studies at Brera, in 1804 moved to Rome, where at the Academy he perfected his skills under Antonio Canova. Returning to Milan, between 1810 and 1858 (the year of his death) he was engaged in two major construction sites; at the Fabbrica del Duomo, where he made, among many others, the famous sculptures of Saints Philip, Ambrose and Ezekiel, and in the same years (from 1813) at the Arco della Pace. Also known for portraiture, he executed for Brera the busts of Carlo Porta (1822), Giuseppe Longhi (1834) and the monument to Cesare Beccaria (1837). And also from those years is ours, which although without certainty could be identified in the togato marble bust exhibited by Marchesi at the Milanese athenaeum in 1829 and depicting perhaps, the effigy of the lawyer Rocco Marliani, who died in 1826. We thank Prof. Omar Cucciniello, Conservator of GAM, for the historical information Reference bibliography: A. Panzetta, Dictionary of Italian Sculptors of the Nineteenth Century, Turin 1990, pp. 101-102 S. Grandesso, La scultura, ed. in L'Ottocento in Italia. The sister arts. Il Romanticismo, 1815-1848, Milan 2006, pp. 185-187 O. Cucciniello, Neoclassical Romanticism. Pompeo Marchesi sculptor collector, exhibition edited by, Milan Villa Reale March 1 ; June 18, 2023, Rome 2023, ad vocem

Estim. 4 000 - 5 000 EUR

Thu 30 May

MARCELLO BALDARI, IN ARTE MARS - Turin, 1987 Unconscious Awareness Lot includes: Marble sculpture/ Marble sculpture 60 x 30 x 25 cm Non - Fungible Token/ 3D Video Artist: Marcello Baldari is a 3D Artist from Turin, Italy. Since 2013, he decided to concentrate to focus his own artistic style, combining two great passions: digital sculpture and concept art. These two worlds, mixing and contaminating each other, gave birth to his personal technique renamed Polysketch, characterized by extreme dynamism and sensation of movement in the eyes of the viewer. Artist: Marcello Baldari is a 3D Artist from Turin. In 2013, he decided to focus on his own artistic style, combining two great passions: digital sculpture and concept art. These two worlds, mixing and tainting each other, gave birth to his personal technique renamed Polysketch, characterized by extreme dynamism and sensation of movement in the eyes of the viewer. Opera: The work entitled 'Unconscious Awareness' is the first marble sculpture created by the artist: it captures the spirit of a warrior sculpted and immortalized on marble. The work shows the moment when the subject finds clarity in her thoughts and feels in harmony with her destiny. The woman's serene face conveys a sense of confidence, as if she has finally achieved awareness of her authentic essence. Through the marble sculpture, the artist has created an emotional portrait of self-realization and awareness. The work: The work entitled 'Unconscious Awareness' is the first marble sculpture created by the Artist: it captures the spirit of a warrior sculpted and immortalized on marble. The work shows the moment when the subject finds clarity in her thoughts and feels in harmony with her destiny. The woman's serene face conveys a sense of security, as if she had finally achieved an awareness of her authentic essence. Through the marble sculpture, the artist has created an emotional portrait of self-realization and awareness.

Estim. 7 000 - 12 000 EUR
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