Galleria Castelbarco
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
  • Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)
Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)

7500 €


Jan van Gelder, italianizzato Giovanni Vangheldri (Anversa 1621 – Modena 1685) Ritratto della duchessa Vittoria Farnese d’Este (Parma, 1618 – Modena, 1649) moglie di Francesco I d'Este, duca di Modena e Reggio Olio su tela (72 x 55 cm. - In cornice antica 92 x 77 cm.) Elegante ritratto della duchessa Vittoria Farnese, figlia di Ranuccio I Farnese, duca di Parma e Piacenza e di sua moglie e di Margherita Aldobrandini, nipote di Giovanni Francesco Aldobrandini, principe di Rossano e di papa Clemente VIII. L’illustre effigiata venne data in sposa a Francesco I d'Este, duca di Modena e Reggio, ed il sontuoso matrimonio, che si tenne a Parma nel 1648, venne celebrato nei poemi dei grandi poeti del tempo, tra cui Giuliano Cassiani e Flaminio Calvi; durante le celebrazioni, venne messo in scena il balletto "La Vittoria d'Imeneo", scritto dal compositore Benedetto Ferrari in loro onore. L’autore immortala la nobildonna a mezzo busto e di tre quarti, con un abito scuro di grande eleganza adorno di diversi fili di perle, presentata con uno sguardo fiero ma gentile, come voleva la tradizione del tempo: durante il suo regno riuscì infatti a guadagnarsi il rispetto dei suoi sudditi per la sua pietà e generosità. Il dipinto, realizzato nella prima metà del Seicento, è da accostare ad un autore vicino al pittore Justus Sustermans (1597 - 1681), ritrattista fiammingo, noto per i suoi ritratti di membri dei Medici, di cui divenne pittore di corte, e della famiglia d’Este. In particolare, il nostro dipinto è attribuibile alla mano di Jan van Gelder (Anversa 1621 – Modena 1685), primo nipote di Justus Sustermans e chiamato dallo stesso Modena nel 1649 per far parte della sua bottega, rivestendo ufficialmente il ruolo di copista dei ritratti dei principi d’Este da inviare ad altre corti per scopi diplomatici. Van Gelder servì la corte anche sotto il ducato di Francesco II, e gli inventari estensi riportano numerosissime sue opere. Spettano a van Gelder le copie di alcuni ritratti di Sustermans, tra questi proprio Vittoria Farnese d’Este, oggi al Palazzo Ducale di Modena (imm.1 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800270782). Possiamo anche menzionare l’opera della collezione privata della Banca Popolare dell’Emilia Romagna, che potrebbe agevolmente ricondurre allo stesso van Gelder (imm.2 https://www.lagalleriabper.it/collezioni/ritratto-di-vittoria-farnese/) Questa tipologia di opere, spesso replicate in svariate occasioni, avevano il compito di divulgare le fattezza dei regnanti e venivano da essi donati ai sottoposti in segno di particolare favore o spediti in segno di amicizia agli esponenti delle altre casate. INFORMAZIONI SUPPLEMENTARI: L’opera venduta viene corredata di certificato di autenticità e garanzia. Ci occupiamo ed organizziamo il trasporto delle opere acquistate, sia per l'Italia che per l'estero, attraverso vettori professionali ed assicurati. È anche possibile vedere il dipinto nella galleria di Riva del Garda, saremo lieti di accogliervi per mostrarvi la nostra raccolta di opere. In caso di acquisto dell'opera da parte di clienti non italiani sarà necessario ottenere un permesso per l'esportazione che richiede circa 10/20 giorni, la nostra galleria si occuperà di tutta la fase fino all'ottenimento. Tutti i costi di tale procedura sono inclusi. Contattateci, senza impegno, per qualsiasi informazione aggiuntiva. Seguiteci anche su : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
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Country: Italy
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The Artist's Studio, Gerard Thomas (Antwerp 1663-1720) Attributed To

The Artist's Studio, Gerard Thomas (Antwerp 1663-1720) Attributed To

Gerard Thomas (Antwerp 1663-1720) Attributed to The Artist's Studio Oil on canvas (99 x 115 cm - in frame 70 x 86 cm) Full details of the painting (click HERE) This fascinating painting, depicting the interior of an artist's studio, is attributable to Gerard Thomas (Antwerp 1663-1720), a late Flemish Baroque painter known for his genre paintings depicting the interiors of artists' studios, art galleries, and scenes of alchemists or physicians in their studies. He was born in Antwerp, where he trained as an apprentice and became a master of the Guild of Saint Luke in 1688-89, later holding the position of dean, the most prestigious position. This theme is influenced by the tradition of the wunderkammer (literally “chamber of wonders” or “cabinet of curiosities”), which spread among noble and intellectual residences between the 16th and 18th centuries, anticipating the modern concept of the museum and stimulating the desire of wealthy Flemish merchants to collect and display rare and precious objects alongside works of art of all kinds. Our beautiful work, in particular, executed around the early 18th century, is a fine example of his production: we see an important artist in his studio, surrounded by three young apprentices eager to learn the secrets of the painter's craft, practising painting on canvas and drawing from sculptural models. A version similar to ours in composition and quality can be found in Rome, in the collection of Palazzo Doria Pamphilj. *Gerard Thomas, The Artist's Studio, Doria Pamphilj Gallery Rome, inv./cat. no. 541 https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F257711 What makes these paintings special is the wealth of detail with which the painter enriches the setting, revealing a taste for depicting opulent, elegantly furnished bourgeois interiors that alluded to both the wealth and artistic sensibility of the wealthy patrons. The setting is a capriccio of objects related to the art and culture of the time, skilfully displayed, including a Persian carpet on the desk, a beautiful celestial globe on a pedestal, an antique classical marble vase decorated with bas-reliefs, and many sculptures (one can recognise the sculptural group with two wrestlers, positioned above a bas-relief altar, reminiscent of those in the Uffizi Gallery), drawings and sketches scattered haphazardly around the room. Finally, the room is dotted with numerous paintings, one of which is recognisable as a “Boar Hunt” by the Flemish master Frans Snyders, who specialised in this genre, and was specifically included by the painter as a cultured reference. In addition to being the artist's “signature” objects (we find the same detail in the boar hunting scene), which we find in his other works, they are symbols identifying the client, alluding to his social superiority and wealth, his professionalism, his culture, and his passion for art, in short, attributes intended to demonstrate his “social status”. By way of comparison, let us look at some of the master's works now housed in various museums, including: - Gerard Thomas, The Artist's Studio, Galleria Doria Pamphilj (fig.1) - Gerard Thomas, The Painter's Studio, Royal Museum of Fine Arts Antwerp (fig.2) - Gerard Thomas, Interior of a Painter's Studio, Sotheby's Amsterdam, 9 November 1999, lot 64, (fig. 3) - Gerard Thomas, The Artist's Studio, Sotheby's London, 12 March 1999, sold for €58,106 (fig. 4) - Gerard Thomas, A Collector in his Workshop, Royal Collection (fig. 5) - Gerard Thomas (1663-1720), Sculptor's Studio/The Tax Collector's Visit, Alte Pinakothek München (fig. 6/fig. 7) - Gerard Thomas, A Sculptor's Studio, Dorotheum Vienna, 15/10/1996, lot number: 134 (fig. 8) (fig. 1) https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F257711 (fig.2) https://kmska.be/en/masterpiece/the-painters-studio (fig.3) https://rkd.nl/images/54442 (fig.5) https://www.rct.uk/collection/406900/a-collector-in-his-cabinet (fig.6/7) https://www.sammlung.pinakothek.de/de/artwork/JzG6RDMGWO https://www.sammlung.pinakothek.de/de/artwork/Qm45JalxNo/gerard-thomas/der-besuch-beim-steuereinnehm... (fig.8) https://rkd.nl/images/10783 The painting is in good condition and comes with an antique black lacquered frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Saint Michael Expels The Angels, Roman School, 17/18th Century

Saint Michael Expels The Angels, Roman School, 17/18th Century

Saint Michael the Archangel expels the rebellious angels from paradise (probably a preparatory sketch) Roman school, 17th/18th century Oil on canvas 99 x 73 cm Framed 119 x 94 cm Full details of the work (click here) The subject of this fascinating canvas is taken from the Last Judgement, an extremely rare subject that has always been particularly popular in painting, as it allowed artists to experiment with contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by a sumptuous theatricality. In particular, here we see the expulsion of the rebellious angels by Saint Michael the warrior: the Archangel is depicted in his armour with outstretched wings, striking the damned with force, who gradually transform into demons as they fall into the underworld. The Archangel Michael dominates the scene, enveloped in divine light and surrounded by celestial clouds symbolising the separation between the heavenly kingdom and hell. Below him, a tangle of naked bodies falls in various positions: they writhe, collide, overlap, and try to find their place in the flood of flesh flowing from top to bottom. Some of them fall on their backs, others with their heads down, and still others have reached the underworld, enveloped by the coils of hellish snakes and taking on the appearance of demons. Baroque painting loved this type of subject matter, with religious scenes characterised by great emotional tension, treated with great pathos and immediacy. To achieve drama, artists used powerful contrasts of light and shadow (chiaroscuro), diagonal compositions and swirling lines, which immersed the viewer in a theatrical and engaging visual experience. This painting is not only a work of art but also a manifesto of the struggle between good and evil, a recurring theme in art history that continues to inspire artists and enthusiasts. The fascinating canvas follows a descriptive structure that makes it recognisable as a valuable preparatory sketch, a study for a larger altarpiece or, more likely, for a more complex fresco; this would therefore suggest that the final work was intended to decorate the main bay of a private chapel. It is a work that reflects the characteristics of the Roman school between the 17th and 18th centuries: the colours are warm and bright, the colour range is clear and soft, and the brushstrokes are quick but precise, all typical elements of this period, with strong influences from the Flemish artists who populated the papal city. The rendering of the drapery and the musculature of the bodies are typical characteristics of Flemish art of this period, a sign of the expert hand of a highly skilled painter, although it is difficult to identify the author with precision. However, it is clear that the work was influenced by the illustrative models typical of this period, influenced by the Mannerist tradition of artists such as Cavalier d'Arpino, Andrea Commodi and Scipione Compagno, who tackled this subject on numerous occasions. Of great interest, and certainly a source of inspiration for our artist, is the famous engraving by Philippe Thomassin (1562-1622) depicting the battle between the archangel Michael and the demons, taken from a painting by Giovanni Battista Ricci (1537-1627), in which details of our painting seem to be reflected. https://www.britishmuseum.org/collection/object/P_1860-1110-249 Condition: the painting is in good condition with some restoration and repainting on the surface. ADDITIONAL INFORMATION: The work is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Giacomo Guardi (venice, 1764 – 1835) Follower, View Of Venice

Giacomo Guardi (venice, 1764 – 1835) Follower, View Of Venice

Giacomo Guardi (Venice, 1764 – Venice, 1835) follower View of Venice with the Basilica della Salute and the Punta della Dogana oil on canvas Dimensions: 40 x 52 cm. framed 48 x 60 cm. Complete details of the work (click HERE) This beautiful view of Venice, executed with great finesse, features the Basilica of Santa Maria della Salute as the protagonist of the representation, with its large dome dominating the entrance to the Grand Canal, with the Punta della Dogana on the left end, which joins the San Marco Basin. This painting was created by an artist with great skill in landscape painting, who can be found among the talented followers of Giacomo Guardi (Venice, 1764 – Venice, 1835), son and pupil of the famous landscape painter Francesco Guardi. His production mainly consists of small-format compositions, intended to satisfy the demands of collectors and refined foreign travellers who, during their Grand Tour, wanted an elegant souvenir of the lagoon city. Their small size allowed them to be transported along with luggage, while now these small “postcards” have become highly sought after and appreciated by modern collectors. We can compare the painting on offer with the canvas “Venice, Chiesa della Salute with Punta della Dogana” (Follower of Guardi Giacomo, Fondazione Cariplo Collection, Imm.1) Link: https://commons.wikimedia.org/wiki/File:Artgate_Fondazione_Cariplo_-_Guardi_Giacomo_(seguace_di),_Ve... The style of the painting is modelled on his modus pingendi, both in terms of the treatment of the water, the boats and even the small figures, all of which testify to his profound knowledge of his father's style, albeit interpreted in his own personal way. His distinctive feature, which we find perfectly reflected in the canvas on display, is his choice to abandon wide views in favour of a more reduced perspective, “cutting out” a cameo of his father's very wide perspective views. As we can see by comparing the canvas with the same view immortalised by Francesco Guardi (Santa Maria della Salute church in Venice, Musée Toulouse-Lautrec, Imm.2), the view is narrowed and the church overlooking the waters of the lagoon is chosen as the protagonist of the canvas. Link: https://commons.wikimedia.org/wiki/File:(Albi)_L%27%C3%A9glise_Santa_Maria_della_Salute_%C3%A0_Venis... The view, in excellent condition, intact and with scattered retouching, is enriched by a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold complete with a pleasant Venetian-style gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. In the event of purchase of the work by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Giovanni Agostino Cassana (venice 1658 - Genoa 1720), Still Life

Giovanni Agostino Cassana (venice 1658 - Genoa 1720), Still Life

Giovanni Agostino Cassana (Venice after 1658 - Genoa 1720) Still life with a pair of gallinaceous birds Oil on canvas 81 x 63 cm - Framed 100 x 81 cm Full details of the work (CLICK HERE) Provenance: Sotheby's Milan, 07/06/2000, lot 199 (estimate €10,000 - 15,000), see photographic details - Published in: Naturalia. Nature morte in collezioni pubbliche e private (Still lifes in public and private collections), edited by G. Bocchi and U. Bocchi, Turin, 1992, p. 155 NB: please note that the painting is darker in real life than in the photos published here, which were taken using professional lighting. The painting in question, entitled ‘Still Life with a Pair of Gallinaceous Birds’, is attributed to Giovanni Agostino Cassana (Venice post 1658 - Genoa 1720). The canvas, published in the volume “Naturalia. Still lifes in public and private collections”, edited by G. Bocchi and U. Bocchi, immediately catches the eye with its intense realism, with the birds hanging upside down, tied by their legs, standing out against a dark, neutral background. It is a masterpiece of painting that allows the artist to masterfully use light and shadow to enhance the texture of the feathers, the brown and black colours of the plumage and the vivid red details of the heads. The anatomical precision and material rendering are remarkable. The genre of still life, dedicated to game, achieved great popularity in the 17th century, especially in the Flemish but also in the Italian context, facilitated by the influence of painters such as Jan Baptist Weenix and Willem van Aelst who stayed in Italy, but with stylistic and symbolic differences: the Flemish often incorporate religious symbolism linked to the transience of life (memento mori), while Italian paintings tended to focus more on plastic and compositional realism, with an emphasis on the materiality of the subjects depicted. The vibrant sensation conveyed by the appearance of these two gallinaceous birds reaches an exceptional expressive vehemence here, certainly captured outdoors and acquired through a free and loose but meticulous Italian-style technique, both in the lighting and in the warm, intense colour it emanates, mixing the Nordic taste for detailed realism with Caravaggesque plasticity. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded wooden frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of Louis XIV As A Child, French Painter 17th/18th Centuries

Portrait Of Louis XIV As A Child, French Painter 17th/18th Centuries

Portrait of Louis XIV as a child (Saint-Germain-en-Laye, 1638 – Versailles, 1715) French painter active between the 17th and 18th centuries Oil on canvas 64 x 49 cm. In frame 79.5 x 64.5 Full details of the painting (click HERE) Analysis of this portrait, and in particular the style in which the features have been depicted, takes us back to the great tradition of the French school between the 17th and 18th centuries: it depicts Louis XIV of Bourbon as a child (Saint-Germain-en-Laye, 1638 – Versailles, 1715), before his actual accession to the throne at the age of 16, and later known as the Sun King. The “child king” Louis XIV ascended the throne at the age of 5, upon the death of his father in 1643, but the government of the kingdom remained for a long time in the hands of his mother, the regent Anne of Austria, and the powerful Cardinal Mazarin, and he was only able to actually wear the crown upon the latter's death in 1661. There are numerous portraits of the king as a child, including those by Charles Le Brun, which depict him with his brother Felipe, and Nicolas de Largilliere, which includes him as a child in a scene with his family. It should be noted that portraits of Louis XIV, from his childhood onwards, were designed to project an image of power, authority and royalty, and that this portraiture was part of a complex propaganda system to enhance his reputation as the most powerful monarch in Europe, despite his young age. This painting in particular refers to one of the many prints of the time (see some examples in the details) dedicated to the young ruler, from which it is possible to compare the features and attributes that portrayed him, with representative clothing and accessories such as those presented here, to celebrate the young man's accession to the throne and his proclamation as King of France. Specifically, we see him looking proudly towards the observer, holding a sceptre in his right hand and the hilt of a silver-adorned sword visible from his left cuff, enhancing the formality and solemnity of the portrait. He also wears a sash with the pin of the Order of the Holy Spirit, also known as the Order of the Cordon Bleu, the most prestigious order of chivalry in the French monarchy and one of the most important in Europe. The insignia of the Order is a cross, similar to the Maltese cross, with four forked arms and a silver dove with outstretched wings and its head turned downwards. The king's children were members from birth, but did not receive the insignia of the Order until they were 12 years old. ADDITIONAL INFORMATION: The work is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. In the event of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Banquet Of Belshazzar, Frans Francken II (Antwerp, 1581–1642) Workshop/

The Banquet Of Belshazzar, Frans Francken II (Antwerp, 1581–1642) Workshop/

Frans Francken II (Antwerp, 1581–1642) workshop/circle The Banquet of Belshazzar Oil on canvas 98 x 115 cm In frame 121.5 x 141.5 cm Full details of the work (click HERE) The painting, which shows us a sumptuous banquet set in the hall of a luxurious palace, depicts the biblical episode in which the Babylonian king Belshazzar, who lived in the 6th century, had the gold and silver vessels stolen from the Temple in Jerusalem brought to him to drink from with his more than a thousand dignitaries, wives and concubines (Bible, chapter 5, Book of Daniel). Suddenly, in the middle of the feast, a blinding light appeared - evoked here by the rays coming from the large candelabra in the centre - and a mysterious hand engraved three incomprehensible words on the wall of the palace: “Mane, Thecel, Phares” (literally “I count, I weigh, I divide”). The court soothsayers were unable to interpret them, but the prophet Daniel, who was attending the banquet near the King, revealed that those words were God's negative judgement on Belshazzar and foreshadowed the imminent end of his reign (that same night, the sovereign was killed and the Babylonian kingdom divided between the Medes and Persians). In particular, Daniel interpreted the individual words as follows: ‘Mane - God has counted your kingdom and brought it to an end’, ‘Tèchel, you have been weighed on the scales and found wanting’, ‘Phares, your kingdom is divided and given to the Medes and Persians’ (Daniel 5:1-30). The work, a valuable testimony to the descriptive richness typical of 17th-century Flemish masters, can be attributed in terms of style and compositional choices to the prolific workshop of Frans Francken (Antwerp 1581 - 1642), who loved to revisit biblical themes in his works, particularly the great banquets of history (the wedding of Esther and Ahasuerus, Herod's banquet, Lazarus' banquet...), which offered him the opportunity to give space to his strong narrative propensity. Following in his father's footsteps, Frans Francken II is considered the true protagonist of the family line, the one who transformed the family workshop into a production centre known throughout Europe. It should be added that he was surrounded by talented assistants, often members of his family, and that his sons continued the business, varying little from the compositions already widely experimented with. ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Carnival In Venice With Harlequin, Marco Marcola (Verona, 1711 - 1780)

Carnival In Venice With Harlequin, Marco Marcola (Verona, 1711 - 1780)

Marco Marcola (Verona, 1711 - 1780) Carnival scene with masks from the commedia dell'arte with Harlequin Oil on canvas, 60 x 82 cm In frame 77 x 100 cm Full details (click HERE) The canvas reflects typical Venetian stylistic characteristics and the author's theme and pictorial style reveal the influence of Tiepolo's culture and, in particular, of the Veronese master Marco Marcola (Verona, 1740 - 1793), an Italian painter of the Rococo period who came from a renowned family of artists. trained in the studio of his father Giovanni Battista (Verona, 1711 - 1780), together with his brother Nicola, Francesco and his sister Angela, becoming leading figures in the Veronese art world of the late 18th century. The subject and style are typical of Marcola's repertoire: a scene rich in characters in carnival costume, including Harlequin, Colombina, Brighella and Dottor Balanzone, depicted in a joyful and festive mood. These are masks from the ancient Commedia dell'Arte, a theatrical genre that found its celebration during the traditional Carnival, the key event that made Venice famous, combining the charm of the city with the power of theatre. Today, as in the past, the performances were improvised by masked actors in the streets and squares. Marco initially focused on decorating villas in the Verona area, as can be seen in the frescoes in Palazzo Allegri in Verona and Villa Canossa in Grezzano, where he left some of his most pleasing images of everyday life. However, his favourite subjects were those that immortalised the city of Venice with its masks and festivals, especially those of a carnival nature, as documented, for example, in ‘I preparativi del Carnevale’ (Palazzo Pellegrini in S. Cecilia, Verona) or the series of four paintings ‘Arlecchinate’ (Civico Museo Teatrale Carlo Schmidl). ADDITIONAL INFORMATION: The painting is sold complete with a pleasant gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco https://www.facebook.com/galleriacastelbarco/
Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Isaac de Moucheron (Amsterdam 1667 - 1744) circle Renaissance garden with knightly festival Oil on canvas 70 x 98 cm. In frame 106 x 133 cm. Full details of the work (click HERE) We present this delightful composition, in which a sumptuous Italian garden provides the backdrop for a spectacle involving knights, specifically a carousel, a type of equestrian and theatrical event popular in European courts between the 16th and 18th centuries, in which knights in costume performed feats of skill on special occasions. The composition is dominated by two knights in the foreground who seem to be waiting to perform on their steeds, while behind them others wait their turn, dressed in ceremonial robes, red and gold cloaks and elaborate headgear. The scene depicts a court event, as was common in Italian gardens and historic villas: such events were often staged to celebrate weddings, royal visits or other important occasions, as we can imagine from the presence of the two trumpeters in the foreground announcing the participants to the sound of their instruments, adding a sense of grandeur to the event depicted. In the background stands a light-coloured Renaissance-style stone structure with sculptural figures on top, surrounded by the vegetation of the garden, reminiscent of a monumental fountain or the façade of a palace. A couple, perhaps royalty, are positioned in the centre as if on a throne, flanked by other figures watching the spectacle. The painting captures the festive and ceremonial atmosphere of such court entertainments. The work, probably based on a real place, is certainly inspired by one of the many gardens that adorned the large villas on the hills between Florence and Rome. Our artist must necessarily have taken his cue for the setting from the famous series of prints entitled Fontane di Roma (Fountains of Rome, 1680) by Giovanni Battista Falda (1643-1678), some of which are shown in the photographic details. Thanks to the stylistic characteristics of the work, which are unquestionably in keeping with 17th-century Flemish culture, we are inclined to attribute it to one of the Northern painters who came to the Eternal City to study. In particular, there are many iconographic and stylistic similarities with a specific iconographic trend taken up by the Flemish artist Isaac de Moucheron (Amsterdam 1667 - 1744) during his stay in Rome, and the author could therefore likely be found within his circle. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Hamon Duplessis (active in Versailles from 1791 to 1799) Signed one lower right, the other lower left “M. h. Duplessis” Pair of paintings Knight near an inn Camp with tent and travellers Oil on panel 27 x 37 cm In frame 55 x 45 cm. Provenance: Christie's, Paris, auction of 14/09/2016, lot 50, estimate €6,000 - €8,000 (see details) This is a pair of landscapes with figures of knights and travellers, executed in oil on panel, signed by the painter Claude Michel Hamon Duplessis, who was mainly active in Paris around the second half of the 18th century and specifically documented in Versailles from 1790 to 1799. One painting depicts a distinguished horseman wearing a bright red cloak on a white horse, stopping near an inn: he points to a building in the distance, perhaps the place he is heading for, as if asking the woman with the child for directions. The second painting shows two tents in a landscape, one of which, with a crown hanging above it, is identified as a typical field inn, which served to entertain and supply knights. In front of it, three men are unloading food from a cart, and next to it there are empty supply baskets, with farmers and their livestock. The brilliant quality of the colour, the accurate and fluid brushwork, the richness of detail and the smoothness of the painted surface of these works, which are in excellent condition, are typical characteristics of Duplessis's best works. specialising in scenes of this kind, often animated by knights, soldiers or travellers stopping for a rest, the author's style, with its Italianate taste, is also influenced by Flemish examples, in a mixture that was very successful in 18th-century Paris. His works are remarkably elegant, and his compositions reflect in particular the influence of Philips Wouwerman (Haarlem, 1619 - 1668), as can be seen from the catalogue of his works; see, for example, those preserved at the Hermitage Museum in St Petersburg (cf. B. Schumacher, Philips Wouwermans (1619-1668), the horse painter of the Golden Age, Doornspijk 2006, no. A 459, vol. 2, fig. 72). Works by the painter can be found in French museums in Besançon (Suburb of a Camp) and Bayeux (On the Banks of a Canal in Flanders). ADDITIONAL INFORMATION: The works are sold complete with two attractive wooden frames and are accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Marcantonio Franceschini (Bologna 1648 - 1729) Workshop of Sleeping Venus with Cupid Oil on canvas 53 x 68 cm. In frame 71 x 91 cm. Full details of the painting (click HERE) Venus, the Roman goddess of love, is portrayed lying down, completely naked, sleeping languidly with both arms behind her head; standing next to her is her son Cupid, the god of desire, pointing to something off-screen. The seductive image is presented to us in a hilly setting, in perfect harmony with nature, and in a measuredly sensual and dreamy atmosphere: her nudity and pose symbolise ideal beauty; she rests on white and red drapery, symbolic colours that indicate the coexistence of pure platonic love (the white sheet covering her pubic area) and passionate love (the red pillow). It is a work of great charm, both for the subject immortalised and for the pictorial execution, showing us the distinctive characteristics of the Bolognese school and highlighting a quality of composition and design that suggests an 18th-century date of execution. The work captures the Rococo sensibility declining into a careful classicist rigour, also presenting lexical elements drawn from early 17th-century culture typical of Domenichino and Francesco Albani: our painting draws inspiration from a work by the latter, specifically “Adonis led by Venus and the Cupids”, created in 1621 by Albani for the Duke of Mantua (Paris, Musée du Louvre, inv. 12, https://collections.louvre.fr/en/ark:/53355/cl010062424 ). In our case, the author has extrapolated the detail of Venus with Cupid (bottom right in the original composition) Going into detail, we can easily link the canvas, painted in the early 18th century, to the workshop of the master Marcantonio Franceschini (Bologna 1648 - 1729), who often drew on elements from early 17th-century culture, particularly that of Francesco Albani, achieving a highly refined classicist sensibility. The pictorial fabric, the analysis of the forms, the scenic setting, the typology of the faces and some Morellian details find clear points of contact and comparison with the artist's best work, who proved to be one of the finest interpreters of Bolognese art between the 17th and 18th centuries. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Seventeenth-century Tuscan painter Angel of the Annunciation Oil on canvas 52 x 74.5 cm Framed 94 x 71 cm Full details of the painting (click HERE) The work on offer, characterised by a refined sacredness, depicts the Archangel Gabriel in the act of delivering the supreme announcement to the Virgin Mary, offering her the canonical white lilies, symbol of purity and chastity. It is a splendid subject, executed with stylistic refinement, probably commissioned for private use and therefore particularly pleasing and easy to place. The Angel takes the form of a young man with delicate features, with his finger raised as if to emphasise his revelation, wrapped in a bright red drape and a white robe, with a dark background that emphasises the movements of the figure and the gesture of his hand. The work, characterised by fluid, vaporous brushstrokes and a luminism that is not overly marked, denotes a profane attention to iconography and compositional methods still common in late Mannerist Tuscan painting, an extraordinarily happy artistic period which, especially at the turn of the century, saw an impressive succession of leading artistic personalities. In this case, although it is difficult to attribute the work to a particular name, the stylistic characteristics suggest that it was painted by a master of the Florentine school, active in the 17th century. The composition is characterised by intense colours and a particularly lively chiaroscuro effect, emphasised by the intense red of the angel's clothes and the glow that illuminates the angel from the front. Good condition. Complete with a beautiful antique box frame. In wood painted to imitate marble. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. In the event of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

Francesco Albani (1578 - 1660) Copy from The Dance of the Cupids Oil on panel 94 x 118 cm in a fine gilded and carved wooden frame 101 x 123 Full details of the work (click HERE) We see a festive dance of cherubs arranged in a circle around a tree, on which other cherubs play musical instruments, while in the foreground there are other objects, including bows and quivers, laid on the grass. In the background on the left, we see the scene of a woman being kidnapped and dragged onto a chariot: this is precisely the abduction of Proserpina by Pluto who, madly in love, took her with him to the underworld to make her his bride. On the right, among the clouds, Venus with a torch kisses Cupid, while below is the temple of Vesta, which still exists today in Rome, where the sacred fire was once kept. The painting is an interesting antique replica of the masterpiece by Francesco Albani, entitled “Danza degli amorini” (Dance of the Cupids) and dating from around 1660, currently housed in the Pinacoteca di Brera in Milan (see image in the photographic details). Known for his light and decorative representations of mythological and allegorical subjects, Francesco Albani is considered, together with Domenichino and Guido Reni, one of the leading exponents of Bolognese classicism and therefore extremely sought after by the cultured patrons of the time. Thanks to a style characterised by idyllic compositions that appealed to the most intimate tastes of his patrons, works such as these have always enjoyed extraordinary critical and public acclaim, to the extent that they have been replicated many times. The subject depicted was also in great demand in later periods due to its symbolic meaning of the triumph of Love: the painting is in fact an interesting allegory of marital union and must therefore have been commissioned within the Farnese family on the occasion of a wedding or a betrothal. This is referred to by the cherubs who, having laid down the bows with which they make lovers fall in love, play happily because they have accomplished the mission assigned to them by Cupid: Pluto has fallen in love with Proserpina and kidnaps her as a sign of his uncontrollable love. Finally, Venus rewards Cupid with a grateful kiss, while the temple of Vesta, where the hearth is always lit, wishes for the love to last forever. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/