J.BAGOT Arqueología Ancient Art

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1 Press Information Consell de Cent, Barcelona. (España). T M / info@jbagot.com We at J.BAGOT Arqueología Ancient Art have been dedicated professionally to the sale of ancient art since the year Since our beginnings our philosophy has been to collect each object with car, based on criteria like the intrinsic beauty of the object, its aesthetic value and, of course, its historic importance. Lovers of classical antiquity who come to our new gallery, right in the center of the city of Barcelona, will be able to take pleasure in viewing extraordinary works from Greek and Roman culture, comprehensively represented with large sculptures and ceramic vases; works like figurines and sarcophagi from ancient Egypt and Mesopotamia; carefully selected objects from Pre-Columbian culture and also from the Kingdom of Gandhara and Ancient China.

2 We supply private collections and public institutions throughout the world with works of high quality. It is at the same time a priority of our organization to serve all collectors, and we do this through offering both pieces of museum quality along with pieces for more modest collections, both with the same dedication and the same guarantees. Our main objective is to offer original ancient works of art guaranteeing their authenticity and maximum quality while at the same time strictly complying with the laws of protection of national, foreign and UNESCO heritage. Ancient Works of art from our gallery can be found in the following public and private institutions: Museo Arqueológico Nacional (Madrid), Museo de las Américas (Madrid), Museo del Vino Dinastía Vivanco (La Rioja), Museu del Cava Ramon Canals (Barcelona), Museo Valdelana (La Rioja), Antikenmuseum Basel and Sammlung Ludwig (Suiza), Umi-Mori Art Museum (Hiroshima) y Rijksmuseum van Oudheden (Leiden). Another objective of the gallery J. BAGOT Arqueología Ancient Art is to offer to the public and art lovers in general the possibility to see temporary exhibitions and publicize fully the works included in them. A recent example of this is the publication of a catalogue of the archeological collection of the Spanish artist, Ignacio Zuloaga a collection begun by his father and completed by the artist himself and made up of a small group of excellent examples of ancient classical ceramics. Another is the exhibition we held in Madrid of the biggest private collection in the country of rings, intaglios and cameos made up of more than two thousand pieces from all ancient epochs: from the earliest examples from the 6th millennium BC in the Middle East pieces from ancient Egypt, Greece, Phoenicia, Carthage, Pre-Roman Europe, the Roman Empire, The Byzantine Empire, Medieval Europe, the Islamic world the Renaissance and finally to works from the 19th Century. The exhibition was accompanied by a catalogue setting out the finest examples, and is in fact the most complete document of ancient rings published in Spanish. Every year we participate in different art and ancient art fairs, both national and international: Feriarte (Madrid), Antiquaris (Barcelona), Atarazanas (Barcelona) and FAMA (Barcelona), BRAFA (Brussels, Winter B Sablon (Brussels) and Bruneaf (Brussels). Pharaoh figure Ancient Egypt Third Intermediate Period, Dynasties XXI - XXII, c BC Bronze Height 10.5 cm A noble solid bronze figure of a pharaoh making an offering. He is seen in a common pose in the typological repertory of this sort of statuary. Usually such a figure would be positioned in front of one on a larger scale, a figure of the principal deity of the temple where the pieces were to be placed.

3 Krater with warriors Greek, Attica Circa 450 BC Attributed to the Persephone Painter Pottery Height 36 cm. The Persephone Painter, who worked from about 475 to 425 BC, is the pseudonym of an ancient Attic Greek vase painter, given this name by John Beazley after his investigations of red-figure kraters to try to identify the different artists. As in other cases, the name comes from one particular krater that helped him to identify this particular artist, a krater on which is drawn the mythological scene of the return of Persephone from Hades. This piece can be seen in the Metropolitan Museum of Modern Art in New York. This painter is known for his close relationship to the Achilles Painter, through whose workshop the Persephone Painter passed. There are only 26 works attributed to the Persephone Painter. Among them there are both large and small vases. This indicates not only the importance of this piece as an object, but also its rarity, as there are so few other pieces of this artist in existence. Aphrodite sculpture Greek 3rd-2nd Century BC Marble and pigments Height 40 cm The posture of the trunk shows that the right arm is raised and the left falls down. This allows us to conclude that this is an Aphrodite Anadyomene, that is, an iconic depiction of the goddess having recently risen from the sea. The head is a little inclined to one side as she would have been wringing the salt water out of her long hair with her hands. Examples in marble, bronze and terracotta which are in good condition offer us a more complete image of this valued iconographic type. It is not an everyday human bathing scene, but rather an epiphany of Aphrodite born out of the foam. For this reason this sort of statue became a popular decoration in thermal baths in the Roman epoch. It was originally used in a painting from the 4th century BC by Apelles, which in turn inspired the famous The Birth of Venus composition by the Renaissance painter Botticelli, which can be found today in the Uffizi Gallery in Florence.

4 God Ptah figure Ancient Egypt Third Intermediate Period Saite Period, BC Bronze Height 22 cm From the private collection of a family from Cumbria, England. Acquired from Spink & Son LTD, in the decade Attached is the original packing and photograph from that time. A majestic hollow bronze sculpture representing the Egyptian deity Ptah. Both the facial details as well as the proportions of the body have been worked with great care to give a maximum sense of reality. The serious expression on the face and the hollows of the eyes afford an impressive, almost magnificent vision of the god. Although Ptah is not one of the most famous gods, he is one of the most important in the Egyptian pantheon. His name may mean the Creator. He was the sovereign of all the gods as he created the universe through Thought and the Word. He is also known by other epithets such as the Lord of Magic, the Lord of Darkness and the Lord of Truth. He was originally associated with Memphis, the capital of the Old Kingdom. From the time of the New Kingdom, he formed part of a triad with his wife, Sekhmet, and his son, Nefertem. He was also a funerary god: in pictorial depictions he appears with a green face, a sign that he is a god of the Afterlife, just like Osiris. Statue of the god Apollo Roman 2nd-3rd Century AD White marble Height 123 cm Ex. Christie s New York, Antiquities, 11 June 2003, lot 211. This sculpture is a mirror version of a sculptural type known at the Apollo of Mantua. This latter is an early form of the Apollo Citharoedus statue type, in which the god holds a cithara in his left arm. This name type comes from the first example discovered and named for its location at Mantua in Italy. The type is represented by neo-attic copies of the late 1st or early 2nd Century, modelled upon a supposed Greek bronze original from the 2nd quarter of the 5th Century BC in a style similar to works of Polyclitus but more archaic.

5 Mosaic with a scene of Hercules killing the Nemean lion Roman 3rd Century AD Tesserae of marble and glass Height cm; length 84.5 cm The craftsman or artist (as some mosaics were signed and artists were even contracted to work in provinces other than their own) has represented one of the most famous mythological scenes, the struggle between Hercules and the Nemean lion. The scene deals with the first of the labours of Hercules. The hero is depicted naked with a muscular body. He is grabbing the beast, which is rearing up on its hind legs, by its neck. Near the lion s back we can see a rocky outcrop, probably where he has his den. There is a tree, probably an olive tree to the left of the scene. Two of the most iconographically characteristic elements of the protagonist can be seen here. The first is the chlamys, a short, light cloak used in antiquity by the Greeks and Romans that covered the upper part of the torso and the crotch. The second element is the club, here resting against the trunk of the tree. This weapon was one that Hercules had fashioned himself from an olive tree. The club was one of the arms that Hercules thought to use to kill the beast, along with a bow and arrows and a bronze sword, all of which proved ineffective, but are, however, depicted here in the mosaic.