Christ And The Adulteress, Workshop Of Lorenzo Lotto (venice, 1480 - Loreto, 1556/1557) - Galleria Castelbarco - Recent Added Items

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Christ And The Adulteress, Workshop Of Lorenzo Lotto (venice, 1480 - Loreto, 1556/1557)

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Christ And The Adulteress, Workshop Of Lorenzo Lotto (venice, 1480 - Loreto, 1556/1557)

35000 €


Workshop of Lorenzo Lotto (Venice, 1480 - Loreto, 1556/1557) Attributed to Durante Nobili or di Nobile (Caldarola, 1509/1510 - Montolmo, before 1593) Christ and the Adulteress Second half of the 16th century Oil on canvas Dimensions: 104 x 135 cm./ Framed 130 x 158 cm. Provenance: Tuscan private collection Expertise of Prof. Emilio Negro (Bologna) We share this valuable work of great collector's value, an oil on canvas painting of the famous ‘Christ and the Adulteress’ painted in numerous versions by Lorenzo Lotto between 1527 and 1529, of which there are at least two autographs, one preserved in the Museo Pontificio Antico Tesoro della Santa Casa di Loreto (imm.1, canvas, 105 x 132 cm), the other in the Louvre Museum in Paris (canvas, 124 x 156 cm), as well as others attributed to the workshop, such as the one in the Galleria Spada in Rome (imm.2, canvas, 104 × 131 cm), very similar to our work. Lorenzo Lotto chooses in his composition to depart from the usual iconography of the Gospel episode (John 8:1-6), dwelling on the moment of reflection that preceded the famous passage: ‘Let he who is without sin cast the first stone’. The unclothed woman, caught in flagrante delicto of adultery, taken by the hair is brought before Christ to dispute the penalty of stoning imposed on the sinner by the law of Moses. The latter, irradiated by the whiteness of the light that the painter casts on her flesh, appears beautiful and elegant, if visibly suffering, surrounded by the morbid wickedness of the crowd. The solemn and hieratic figure of Christ is placed in the centre of the canvas, expressing himself through his own firm gestures, with his right arm raised to interdict the arrogant human chatter, and as if he wanted to protect the woman, while with his left hand he expresses the inverted sign of blessing, with his fingers pointing downwards. The firmness of his figure, with its penetrating gaze, invites one to associate the humiliation of the adulteress with the future suffering of the one who offers himself as a sacrifice for the sins of men; Among the bystanders, on the left, one can distinguish, from the peculiar headgear and the physiognomic accentuation of somatic features, a group of Pharisees, among whom stands out a richly dressed old man, caught in the gesture of ‘disputatio’, emphatically listing the faults of the woman. It is interesting to note how, in the gestures and theatricality of the characters, as well as in the invention of the figures compressed into the foreground, there is a re-evocation of Leonardesque and Nordic models, from Durer to Cranach. Having analysed the details of the iconography, let us now turn to the style of execution that reveals the undoubted and close relationship with that of the great Venetian master. In particular, it reveals the modus operandi of one of his main pupils, namely that of Durante di Nobile or Nobili (Caldarola, 1509/ 1510-4 Montolmo, before 1593), his close collaborator at the time of his important stay in the Marche. Nobili's professional relations with Lorenzo Lotto are documented from 1548 onwards, with numerous instances of four-handed collaborations to satisfy requests from monastic orders and the aristocracy of the more secluded papal province. Among the many works produced together with the Venetian master, we can name the Assumption for S.Francesco alle Scale in Ancona and the decoration of the frame of a lost S.Girolamo painted for Cardinal Pio da Carpi. The fame he acquired with his painting then also allowed him an excellent independent career, which we can place between 1562 and 1570, although the warm chromatic intonation of this ‘Christ and the Adulteress’ allows us to attribute it to Nobili in credible collaboration with the great lagoon painter, as a comparison with his production shows, in which he was able to infuse a creative intensity of good evocative and psychological force, even in the observance of Lotto. Imm.1: Lorenzo Lotto, Christ and the Adulteress, Museo - Antico Tesoro Santa Casa, Loreto URL: https://lorenzolottomarche.it/itinerario/loreto/cristo-e-ladultera-1548-1550 Imm.2: Lorenzo Lotto (anonymous workshop), Christ and the Adulteress - Galleria Spada, Rome URL: https://catalogo.fondazionezeri.unibo.it/scheda/opera/49665/Anonimo%20sec.%20XVI%2C%20Cristo%20e%20l... N ADDITIONAL INFORMATION: The work sold is completed by a beautiful frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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Galleria Castelbarco

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The Guardian Angel, Ciro Ferri (rome, 1634 - Rome, 1689) Follower Of

Roman painter, 17th-18th century Ciro Ferri (Rome, 1634 - Rome, 1689) follower of The Guardian Angel (Tobiolo with the archangel Raphael) Oil on tea 100 x 75 cm. in antique frame 126 x 99 cm. The protagonist of our pleasing canvas is the Archangel Raphael, immortalised while protecting a child [1]. The meaning of this iconography, which became widespread mainly between the 16th and 17th centuries, has over time taken on a broader significance, thus ending up becoming the emblem of the guardian angel whose task it is to protect every human being. [1] In the ‘Book of Tobias’, the angel Raphael was invoked by Tobi, a just and poor man, to accompany his son Tobias on a journey; Raphael showed Tobias the safest way and saved him more than once, without ever revealing himself as an angel, except at the end of the story. The angel aptero (without wings, thus before revealing his identity) is here depicted in the guise of a young man with delicate features and a garment clasped at the waist and punctuated by ample drapery. The child he is holding, innocently frightened, turns his eyes to the sky, where through a crack in the clouds the light of divine grace appears. The stylistic and figurative characteristics of the painting evoke echoes of 17th century Roman painting, distinguished for its refined style, capable of combining the Baroque language, sumptuous by definition, with elements of classicist ascendancy. In particular, observing the iconographic characters and drawing traits, it seems fitting to draw close to the style of Ciro Ferri (Rome 1633 - 1689), one of Pietro da Cortona's best pupils, who took up his mastery of drawing and colouristic wisdom. Compared to his master, however, he departed for a more classical, delicate style, enhanced by a luminosity and greater attention to detail: our canvas, of excellent quality, allows us to find all these characteristics. In this case, while appreciating the quality of the painting, the work of another hand, a pupil of the painter or probably a follower active at a later time, is evident. Finally, it is worth mentioning the enchanting landscape on the left, in which we can recognise the famous Dicle Bridge over the Tigris River, the setting for the story of ‘Tobiolo and the Angel’ with its unmistakable arches, and the Diyarbakır Fortress in present-day Turkey (now a UNESCO World Heritage Site). ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Andrea Scacciati (Florence 1642-1710), Composition De Fleurs Dans Un Vase En Relief (3 De 3)

Andrea Scacciati (Florence 1642-1710) (link) Composition of flowers within embossed vase (3 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (2 Of 3)

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (1 Of 3)

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Pair Of Roman Views With Ancient Ruins, Hubert Robert (paris, 1733 - Paris, 1808)

Hubert Robert (Paris, 1733 - Paris, 1808) Pair of Roman views with ancient ruins The Roman Forum/ Fancy Roman view with round temple Oil on paper applied to canvas 16 x 26 cm. - In frame 28 x 37 cm. The pair of paintings is a testament to the landscape art of 18th century Rome, capable of evoking with idyllic sensitivity and atmospheric luminosity the charm that surrounded the Eternal City. The ancient classical vestiges, picturesque monuments and the charm of the waterfalls delighted landscapers and outsiders not unfamiliar with ancient history and literature. Unlike today, the ruins then retained all their exemplary character, all their aura. In the late 18th and early 19th century, what fascinated visitors to Rome most was the harmonious symbiosis of ruins and nature; the slow decay was experienced as a return to the lap of nature. Artists did not tire of presenting spectators with the beauty of walls covered in vegetation, which gradually blended into the landscape. Crumbling vestiges of Roman antiquity make up the scene, orchestrated with expert perspective by the painter. ‘The Roman Forum’ is a classic view, taken from the foot of the Capitol; this perspective frames, under a cloudy Roman sky, the remains of the Temple of Saturn on the right, the Arch of Septimius Severus on the left and the three imposing columns, the only remains of the Temple of Vespasian. The second work also proposes the same pictorial scrupulousness, although the subject immortalised is the work of the author's imagination, with the fascinating ruins of a round temple, reminiscent of the structure of the Temple of Vesta, located at the eastern end of the Roman Forum. The two views reflect, both in terms of subject depicted and in terms of style and taste, the Roman works of Hubert Robert, an artist of French origin who, after an initial artistic education received in his homeland, went to Rome in 1754 where he was admitted to attend courses at the Academy of France. In the eternal city, he specialised in works mainly oriented towards depicting views and glimpses of classical vestiges, also expressing an imaginative vein of remarkable modernity. The idea of the ‘capriccio’ as a pictorial genre, in his works, seems to transcend 18th century classicism and create a genre that will be highly successful: the works presented here adhere to this trend. ADDITIONAL INFORMATION: The paintings are completed by two antique gilded wooden frames and come with a certificate of authenticity and guarantee. In the case of purchase of the works by non-Italian clients, it will be necessary to obtain an export permit, which takes about 15/20 days; our gallery will take care of the whole phase until it is obtained. All costs of this procedure are included. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the paintings in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Saint Michael The Archangel Victorious, Tuscany - 16th Century

Saint Michael the Archangel victorious over the Devil Tuscany - 16th century Oil on canvas 68 x 52 cm. - In frame 97 x 78 cm. Full details of the painting (click HERE) Of great character is this interesting St. Michael the Archangel subduing the devil, the work of a Tuscan painter at the height of the 16th century, distinguished by a particularly powerful and solemn mannerist language. The composition is presented according to the traditional iconographic scheme: the Angel, depicted as a youth of rare beauty, takes up the image of the warrior, strong and delicate at the same time; with outstretched wings he lifts his spear without apparent effort, ready to strike the blow of victory at the rebel angel lying at his feet. An element that on a collectors' level makes our painting extremely rare, if not unique, is the very particular iconography of the demon with female features. In fact, it appears on the ground, subdued and trampled, as a monstrous hybrid being that is part human and part animal: with the torso of a woman, with prococious breasts, and the tail of a snake. St Michael grasps its animal arm with his claws as if to display such monstrous features. His serene countenance contrasts with the devil's contorted pose and tense gaze, recalling his wickedness, compared to the beauty of the archangel, symbol of goodness. Supreme commander of the angelic hosts, he is a harbinger of strong symbolic power, representing the representing the victory of Good over Evil, although in such iconography we might recognise a broader meaning, that of the victory of virtue over lust and seduction (which has always been personified by woman). The skilful effect of chiaroscuro, which adds volume and substance to the body emerging from the darkness, is well combined with a brilliant chromatic impasto, with the intense red of St. Michael's cloak, with its elegant sinuous folds. The conservation condition of the work appears good. The work is completed by a beautiful gilded wooden frame, not of the period. ADDITIONAL INFORMATION: The painting is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Hagar And The Angel/ The Sacrifice Of Isaac, 18th-century Neapolitan Master

18th-century Neapolitan master Pair of paintings ‘Hagar and the Angel’ and ’The Sacrifice of Isaac’ Pair of oils on oval canvas 75 x 60 cm. - In frame 84 x 69 cm. FULL DETAILS (click HERE) The proposed pair of paintings, works by a Neapolitan author active between the 17th and 18th centuries, depict two biblical episodes from the life of Abraham, involving in particular the patriarch's two sons, Ishmael and Isaac, and narrated in the Book of Genesis. The first painting speaks of the baby Ishmael, Abraham's eldest son, born of his union with the Egyptian slave Hagar, a union consented to by his wife Sarah herself in order to have an heir, since by then she thought she could no longer have an heir, with the aim of adopting him when she gave birth. After the birth of their son Isaac, however, an acute jealousy arises in his wife Sarah towards the young slave Hagar, and Abraham is then forced to send her away together with their son Ishmael, In the episode illustrated we see Hagar, lost in the desert of Bersheba and in despair at the imminent death of her little son, being rescued by the Archangel Michael who points out a spring to which she can take the little one to quench his thirst. The second painting tells instead of Isaac, Abraham's second son, begotten by his wife Sarah although in old age. God subjected Abraham to an extraordinary test of obedience, and to see the strength of his faith, he orders him to sacrifice him. He goes without hesitation to Mount Moriah and as he is about to diligently perform the sacrifice, already holding the knife, he is blocked by the angel sent by the Lord, who grabs his wrist with a strong and firm grip, and shows him a ram to be immolated as a substitute sacrifice. ADDITIONAL INFORMATION: The pair of works is completed by a gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Psychostasy Of The Archangel Michael, Luca Giordano (naples, 1634 - 1705)

Luca Giordano (Naples, 1634 - 1705) workshop of Psychostasy of the Archangel Michael, or the Weighing of Souls (probable preparatory sketch) Oil on canvas 58 x 43 cm. Framed 73 x 61 cm. Full details of the painting (click HERE) The subject of this fascinating canvas is taken from the Last Judgement, an extremely rare and particularly popular theme in painting as it allowed for contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by sumptuous theatricality. In particular, here we see psychostasy, or the weighing of souls by the fighting St Michael: the Archangel is depicted in his armour with wings outstretched, his right arm outstretched to hold a pole from which hangs a scale, which he will use to assess the merits of the souls examined. This Christian tradition derives from the ancient Egyptian religion, where the dead were subjected to a weighing of the heart by the God Anubis before being allowed to enter the afterlife: if the response was in favour, Osiris welcomed the soul, defined as pure, into the ‘Fields of Rushes. On the basis of the book of Revelation, he therefore had the power to sift souls before the Last Judgement: we see one picked up by an angel to be taken to heaven, with God the Father and Christ at the top welcoming the chosen souls into Paradise. While for the elect there will be the ascent into heaven, for the damned the fall into hell, where the figures writhe as they fall into the flames. The structure of the painting clearly indicates that we are dealing with a valuable preparatory sketch, presumably a study for a fresco or larger altarpiece; this suggests that the final work was intended for the decoration of the bay of a church or private chapel. It is a work that reflects the characteristics of the Neapolitan school in the late 17th and early 18th century: the warm and luminous colours, the clear and soft colour range and the fast but precise brushstrokes are elements that lead us, in particular, to the production of Luca Giordano and the large group of his pupils. ADDITIONAL INFORMATION: The work sold is completed by an attractive gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Portrait Of A Young Boy, Lombard School 17th Century

Lombard School, 17th century Portrait of a Young Boy oil on canvas 109 x 78 cm - 127 x 97 cm with frame Full details of the painting (click HERE) The protagonist of the offered canvas is a chubby little boy, aged approximately five years, a young member of an aristocratic family of the 17th century: he wears sumptuous but sober clothes, consisting of a wide short bell-shaped cape with gold trim and buttons, which covers his dress in shades of red. An analysis of the details of the beautiful portrait, and in particular the stylistic type with which its features are outlined, leads us back to the great tradition of the 17th century Lombard school, although there are also influences, in the details of the dress, of Spanish fashion. This is more than plausible given that in that historical period Spain dominated Europe not only in the political sphere but also in fashion and costume (and especially in Lombardy, under Spanish rule). The golden detail of the buttons and the red of the dress, a colour echoed in the stockings and the bow that closes the shoes, stand out against the almost monochrome of the essential setting within which he is portrayed. Interesting is the apple held in the hand, which traditionally - a reference to the apple of Venus - was included in the portraits as a symbol of good omen, alluding to a future marriage; in wealthy families it was in fact customary to organise unions between the descendants of families from an early age in order to mutually reinforce their power. Perhaps the painting was therefore meant to be a promise of marriage, commissioned as a presentation card for a young man to present to the family of the bride-to-be. In addition to the apple, he holds a hat under his arm, as if already emphasising his future as a member of high society in his own right. Although he presents those traits of rigour and austerity typical of portraiture of this period, they are mitigated by the candid expression on his face, which scrutinises the observer with a typically childlike gentleness. ADDITIONAL INFORMATION: The work is sold complete with an attractive frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Holy Family With Saint Anne, Sebastiano Ricci (belluno 1659 - Venice 1734) Attributable

Sebastiano Ricci (Belluno 1659 - Venice 1734) attributable to Holy Family with Saint Anne Oil on canvas 135 x 100 cm. - with frame 147 x 112 cm. Of extraordinary scenic impact is this Holy Family with St. Anne, which, conceived by the author according to the most canonical pyramidal composition of Leonardo's memory, is enhanced by a studied plasticity of the figures and their perfect articulation in space. At the apex St. Joseph, leaning on his staff, serenely watches over the Madonna holding her son, with whom she exchanges a gaze full of love, with Anna kneeling before them as a sign of respect. This is a work of excellent quality that reproduces a composition by the great Baroque painter Sebastiano Ricci (Belluno 1659 - Venice 1734), from the Molinari Pradelli art collection (published in Volpe C., La Raccolta Molinari Pradelli. Paintings of the Seventeenth and Eighteenth Centuries, 1984, p. 88, no. 46, and again in Daniels J.'s monograph, The Complete Works of Sebastiano Ricci, 1976, p. 111, no. 264) Link: https://catalogo.fondazionezeri.unibo.it/scheda/opera/68607/Ricci%20Sebastiano%2C%20Sacra%20Famiglia... Although the quality of execution might lead us to attribute our canvas also to the Venetian master, for the sake of scruples we prefer to enlarge the reference to an author working in the workshop or to one of his close collaborators who, on request, made a similar version. An artist of extraordinary renown, celebrated by his contemporaries and in demand by the most prestigious patrons, Ricci is considered one of the main figures in the revival of Venetian painting in the 1700s. He was trained by studying the work of Paolo Veronese and other 16th-century Italian painters, in turn influencing painters of the new generation, foremost among them Giambattista Tiepolo. Indeed, the work can be read in its original derivation from Veronese's models, with the pictorial material absorbed into a luminous layout and compositional syntax typical of 16th-century Venetian modes (even in individual elements, such as column and balustrade) and reinterpreted in a contemporary key. See in particular the beautiful figure of the Virgin, draped in the antique style, almost a classical statue as a backdrop to the main scene, and actually the true protagonist of the composition. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. You can also see the painting in the gallery in Riva del Garda, we will be glad to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us at : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Ariadne On The Island Of Naxos Workshop Of Guido Reni (bologna, 1575 - Bologna, 1642)

Ariadne on the Island of Naxos (LINK) Workshop of Guido Reni (Bologna, 1575 - Bologna, 1642) Attributable to Francesco Gessi (Bologna 1588 - 1649) Oil on canvas 114 x 86 in frame 128 x 105 cm. The subject of this beautiful painting is a comely maiden seated on the rocks, mischievously discreet and with a sweetly distracted gaze, while the intense blue of a crystal-clear sea forms the background, making her sculptural body stand out and embellishing the composition. Although with variants, the invention of this charming image is taken from mythological iconography, and derives from a segment of Guido Reni's painting of Bacchus and Ariadne, painted around 1614 for the Bolognese collector Cesare Rinaldi (1559-1636), and later purchased by Cardinal Pietro Ottoboni for his Roman residence, and today housed in the Los Angeles County Museum of Art (oil on canvas, 86 x 96 cm, museum URL: https: //collections.lacma.org/node/242336 ) The female figure is thus to be identified with the beautiful Ariadne, daughter of the Cretan king Minos, who, after falling in love with Theseus and helping him to escape from the labyrinth of the monstrous Minotaur, was abandoned by the ungrateful hero on the island of Naxos, whose ships can be seen receding into the horizon. According to the Greek Philostratus (Imagines, 1.15), however, the maiden was saved by the god Bacchus, who found her sleeping on the shores, beautiful and completely naked, fell madly in love with her and asked her if she wanted to be his wife. In the field of painting, the figure of Ariadne was often borrowed, especially from the Renaissance onwards, under the pretext of staging the famous Greek myth, but also as an Allegory of profane love. It is a very refined iconographic subject, inspired by cultured literary models and therefore appreciated by the collectors of the time, who at the same time adored decorating their homes with figures with graceful nudity. The nudity is typically Rhenish - with those features that would later become distinctive elements of Bolognese classicism - and tends to idealise the subject depicted, often making him assume classical poses, almost like an antique statue, and ethereal expressions, such as the candid face of the young woman. This is a composition that, executed in the middle of the 17th century, can probably be associated with the hand of a painter from Guido Reni's entourage, in particular Francesco Gessi (Bologna 1588 - 1649), one of his most faithful followers. One of the first pupils to grow up in Guido Reni's workshop, he represented, together with Giovan Andrea Sirani, the continuity of his master's classicist tradition in the local area. As can be seen in the canvas on show, Gessi continued his style, cloaking his works in a diffused light, highlighting shapes and soft drapery, while the dreamy physiognomy and delicate colour scale infuse the scene with an Arcadian and theatrical classicism. Frequenting Guido's prestigious workshop for a decade, from 1614 to 1624, his early production is therefore inspired by the master, carefully imitating his style and reproducing his most famous iconographies, as in this case, where we see an extrapolated fragment of a more complex composition. Guido Reni, Bacchus and Ariadne oil on canvas, 96.52 × 86.36 cm Los Angeles County Museum of Art (LACMA) ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Winter Landscape With The City Of Utrecht, Herman Saftleven (rotterdam 1609 - Utrecht 168)

Herman Saftleven the Elder (Rotterdam 1609 - Utrecht 1685) workshop Winter Landscape with the City of Utrecht Oil on canvas 81 x 65 cm. - framed 105 x 91 cm. The painting depicts a charming winter landscape, with a glimpse of a city set on the banks of a frozen river where numerous characters animate the canvas immortalised in their daily lives, heedless of the climatic rigours that surround them, thus showing us a snapshot of popular life in the 17th century. Precisely this is the city of Utrecht, with the famous Plompetoren, the high watchtower that formed part of the city's defences in the Middle Ages (also known as the robbers‘ tower, since it was also used as a prison), next to which we can see De Vos tower, which no longer exists, while in the background we admire the tip of the Gothic St. James’ church. It is therefore not only a work of undeniable aesthetic and collector's value, but also an important historical document on the former physiognomy of one of the most important cities in the Netherlands, especially at the time of its great colonial power. Winter settings such as ours reached their zenith in the Dutch Golden Age, a truly attractive pictorial genre, sought after by art collectors of the time, as well as after almost four centuries, by Flemish painting enthusiasts of today. Following in the footsteps of Pieter Brueghel the Elder, who introduced this pictorial genre in the third quarter of the 16th century, a large number of authors active between the end of the 16th and the 17th century created from time to time personal variations on the theme of the landscape immersed in the coldest season. Although based on a real vision, the view appears with an almost dreamlike setting, depicting a sort of fairytale on canvas, invaded by light from the horizon that floods the broad landscape with a very warm, orangey hue, contrasting with the idea of the cold winter. From an attributive point of view, our canvas can be attributed to the workshop of the Flemish artist Herman Saftleven, creator of river views with castles that made him one of the most famous Dutch artists of the 17th century. It is in fact a typical composition by the painter, executed with quality and skillful detail, and characterised by a pleasant, soft and delicate colour scheme. A similar painting is today kept in the Gemaeldegalerie Alte Meister, Kassel, Germany, dated 1646 (museum link: https://datenbank.museum-kassel.de/33910/), and our canvas, of similar quality, could probably be a version painted by the author or one of his close followers. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/