Circle of Orazio Marinali (1643-1720) Italian, Veneto, circa 1700

Private collection, Athens, until circa 1976;
private collection, London

There are some restored breaks to the drapery of both busts, in particular around the heads. These restorations are particularly apparent at the drapery on the proper right side of the older man's face. The restorations have yellowed and glue residue is visible. There is also some flaking to the restorations. A section at the back on the younger man's bust on the proper right side appears to have been lost, and there are old dowels present. The Verona marble socles are reattached and residues of a binding agent are visible. Sections of the reverse of the socle appear to have been lost. There are small chips and losses to the edges of the bases. Aside from these observations, the busts are generally in good condition, with attractively finished original surfaces. There is minor mottling to the surfaces, including at the chests. There are few small chips and losses, in particularly to the folded part of the young man's drapery on the proper left side and to some of the edges of the older man's drapery. There is minor veining to the marble, consistent with the material. The tip of the younger man's nose is restored.
"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."

These wonderfully expressive and imposing busts have been carved with great attention to detail. The anatomy and facial expressions reflect the Baroque taste of the Veneto region in the late 17th and early 18th centuries, and can be compared to the work of Orazio Marinali, his teacher Josse de Corte, and his contemporaries Giacomo Piazzetta and Michiel Fabris, called L'Ongaro, who were all active in Venice at the same time. Notably Marinali, the most celebrated member of a family of sculptors, held a fascination for the representation of extreme emotions, and produced a number of busts of this type, where the powerful and accentuated facial expressions seem to balance on the edge of caricature. The present busts bear an especially close likeness to a pair of busts in the Musei Civici in Padua, formerly attributed to Marinali's circle by John Webster, but now simply attributed to 'a Veneto 17th century sculptor' by Pavanello (op. cit. nos. 29, 30).

The iconography of the present pair of busts seems to adhere to the popular motif of the crying and the laughing philosopher, or Heraclitus and Democritus. Democritus, on the left, has wrinkles from laughing in the corner of his eye; Heraclitus has his eyebrows peaked and frowns in an expression of sorrow. His proper left cheek may have once held a tear. 

RELATED LITERATURE
C. Semenzato, La Scultura Veneta del Seicento e del Settecento, Venice, 1966, p. 35, fig. 67; S. Guerriero, 'Le alterne fortune dei marmi' in G. Pavanello (ed.), La Scultura Veneta del Seicento e del Settecento: Nuovi Studi, Venice, 2002, figs 3, 8-11, 19, 26-30