Attributed to Antonio Begarelli Italian, Emilia, circa 1530-1540

Overall the condition of the terracotta is good with dirt and wear to the surface consistent with age. There is a wash to the surface. There are a number of restorations: the proper right hand is reattached (and there are restorations to the fingers, thumb and palm); a section of the proper right knee is reattached; the bottom section of the rear flap of drapery falling from the proper right arm is reattached. The feet are lost, and there are losses to the drapery at the bottom. There may once have been a terrasse. There are joints running horizontally through the terracotta: through the knees and across the drapery behind; through the hips and across the lower back; across the upper arms and chest. These may be original joints or restored breaks. There are possible small losses to the beard and some small lacunae. There is a hole in the drapery under the proper right arm and another in the back of the neck. There are some smaller further restorations, including to the edges of the drapery. There may be further restorations, including to the proper left leg.
"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."

Begarelli was born to be a sculptor in terracotta. His father was a kiln owner in Modena and amongst the most instrumental influences on his work were Guido Mazzoni and Niccolo dell' Abate. He is first securely documented from 1524 when he began a group of the  Pietà  for the Compagnia di San Bernardino. He established a dominant position in Emilian sculpture in the first half of the 16th century, maintaining the traditions of the High Renaissance during the emergence of Mannerism. A lay member of the Benedictine order, Begarelli had a prolific production in his own region and was assisted by his nephew Ludovico.

Begarelli’s main commissions in the 1520s are the impressive monument to Gian Galeazzo Boschetti (1525-7) in the church of San Cesario sul Panaro (and which in fact incorporates Begarelli’s own tomb), a Nativity group (1527) in Modena Cathedral, a monumental statue of the Virgin for the façade of the town hall (1528) and the tomb of Giacomo Belleardi (1529, destroyed) for S Francesco in Modena.

During the next twenty years his career flourished. His activity was concentrated in Emilia and the vicinity. He worked in Ferrara for Alfonso I d’Este and in Parma for the Benedictines. His only known foreign commission (if indeed he can be identified as the 'Il Modena' referred to in the documents) was for a triumphal arch incorporating an equestrian statue of Philip of Spain on the occasion of his entry into London in 1554 for his marriage to Mary I of England. 

The present impressive standing figure of an apostle, probably St. Paul, is consistent with Begarelli's mature works. Clear comparison can be observed with many of the standing figures of saints he made from the late 1530s until the end of his career.  In particular note the affinities with the large figures of Saints Francis and Bonaventura in San Pietro, Modena (after 1543), the Saints Benedict and John the Evangelist from the transept of San Giovanni Evangelisa, Parma (1540-3).

Begarelli employs a calm contraposto stance for these standing saints. Saint Francis gestures to his chest with his left hand as does the present apostle with calm assurance. The drapery of the former and Saint Bonaventura is handled in broad areas over the advancing leg, contrasting with more complex arrangements of the garments gathered in at the waist, or falling, as is the case with our apostle, in long over lapping folds from the shoulder. No less striking are the similarities between the handling of the saints’ furrowed foreheads, sharply defined eyes and, most notably, the exuberant and skilful modelling of the beards.

RELATED LITERATURE
G. Bonsanti and F. Piccinini, Emozioni in terracotta Guido Mazzoni /  Antonio Begarelli Sculture del Rinascimento emiliano, exh. cat. Foro Boario, Modena, 2009, pp. 231-250; Chiara Stefani. "Begarelli." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 27 May.2014.  .