Galleria Castelbarco
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
  • The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower
The Parnassus With Apollo And The Muses, Raffaello Sanzio (urbino, 1483 - Rome, 1520), Follower

16000 €


RAFFAELLO SANZIO (Urbino, 1483 - Rome, 1520), follower of The Parnassus with Apollo, the Muses and ancient and modern poets 17th-18th century Oil on canvas (123 x 173 cm - framed 137 x 187 cm.) All the details relating to this painting can be viewed at the following - LINK - This refined painting, of considerable size and great scenic effect, is a derivation of Raphael Sanzio's famous fresco depicting Mount Parnassus, datable to 1510-1511 and located in the Stanza della Segnatura, one of the four Vatican Rooms. The meaning of the subject was to celebrate humanistic culture, a sort of allegorical representation that saw both the figures of myth and those of the greatest authors of the past side by side in the same space. The scene, enveloped in a lyrical atmosphere, is set on Mount Parnassus, near the fountain Castalia, for Greek mythology the home of the Muses, where ancient and modern poets are depicted. The painting, which rather faithfully reproduces Raphael's piece with perfect harmony and great pictorial quality, is the work of an Italian author active between the 17th and 18th century. We can see the careful balancing of the light, which brings out its chromatic brilliance, and the accentuated sculptural relief that the author gave to the figures, as well as the very faithful rendering of the individual pictorial details of the figures. At the centre of the composition stands the main figure of the god Apollo, crowned with laurel and seated on a rocky boulder intent on playing the lyre from his arm, surrounded by the nine Muses: at his side Calliope with the sceptre (muse of epic poetry) and Eratro with the lyre (muse of choral singing and love poetry); Behind them on the left are Thalia (muse of comedy), Clio (muse of history) and Euterpe (muse of music), while on the right are Polyhymnia (muse of dance and sacred song), Melpomene (muse of tragedy), Terpsichore (muse of song and dance) and Urania (muse of astronomy and geometry). Arranged as if in an auditorium, all around are eighteen ancient and modern poets divided into several groups, linked to each other by gestures and glances, forming a sort of continuous crescent that projects towards the spectator as if to envelop him. At the top we can find the poets of classical and medieval epics, on the left the young Ennius, listening to the song of Homer (blind), followed further behind by Dante, who looks towards Virgil, who in turn addresses Statius next to him. Below, again on the left, is the group of lyric poets, with the poetess Sappho holding a paper with her name written on it, and again Piandaro, Catullus (or perhaps Tibullus), Horace and Petrarch. On the opposite side at the top of the painting are other modern poets, who have often created identification disputes. The most controversial figure is the first, for whom the identification of Ariosto or, according to an alternative hypothesis, Michelangelo has been proposed. Then follows Giovanni Boccaccio (second in profile), while the others have been identified as Plautus with Terence (old man in profile and young man turning to look at him) and finally Jacopo Sannazzaro. On the bottom right are the three great Greek tragedians, Aeschylus the elder seated, Sophocles and Euripides the younger. ADDITIONAL INFORMATION: The painting is completed by an attractive gilded wooden frame and is sold 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. Contact us for any information, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/    
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Galleria Castelbarco
Address:
Viale Giovanni Prati, 39 ,
38064 Riva del Garda
Country: Italy
Tel.: +39 (0)349 4296 40
E-mail: info@antichitacastelbarco.it
Website: www.antichitacastelbarco.it
Pair Of Roman Views With Ancient Ruins, Hubert Robert (paris, 1733 - Paris, 1808)

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, 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

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)

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

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

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 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)

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/
SOLD
Portrait Of An Oriental Philosopher, Giambattista Tiepolo (venice 1696 - Madrid 1770) Workshop

SOLD

Portrait Of An Oriental Philosopher, Giambattista Tiepolo (venice 1696 - Madrid 1770) Workshop

Portrait of an Oriental philosopher with book Workshop of Giambattista Tiepolo (Venice, 1696 - Madrid, 1770) Possible Lorenzo Tiepolo (Venice, 1736 - Madrid, 1776) Oil on canvas cm. 60 x 45 framed cm. 73 x 58 Good conservation condition FULL DETAILS OF THE PAINTING (please click here) Half-length portrait of a mature man, turned three quarters to the left, with a long beard, greying hair and his head covered by a cap. He wears oriental clothing: a white shirt and a purple-red cloak, with the flaps closed by a chest band embellished with a cameo diadem. In the face furrowed with wrinkles, the intensity of the eyes stands out, hollowed out, yet bright and sharp. It seems clear, even in the indefiniteness of a fantasy portrait, that it is in any case the face of a sage, probably a philosopher. The details of the face are very precise, the beard unkempt but neatly trimmed, and finally, the eyes expressive and intense, while, he sports a mocking smile. The source of inspiration was undoubtedly Rembrandt who, in the previous century, had established the characters of this genre, taking elderly men in oriental-inspired clothing as models to create poetic and enigmatic images, bearers of a wisdom obscure to us and thus ‘philosophers’ par excellence, destined to delight and fascinate the observer. The canvas, of truly remarkable quality, is closely connected to the production of heads of character and fantasy that developed in Venice during the 18th century and reached its apex in the works of Gian Battista Tiepolo, author of the famous series of twenty fantasy portraits of ‘Philosophers’, later taken up in the workshop by his sons Gian Domenico and Lorenzo, who made outstanding contributions to this particular figurative type. In particular, we can compare the prototype with the ‘Portrait of a Bearded Old Man’, traceable in the print made by Gian Domenico Tiepolo (Galleria Sabauda, Fondo Grafica, inventory number 3359, link: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0100214303-10). Looking closely at the style of our effigy, the greatest points of contact are with the works of the second-born Lorenzo Tiepolo (Venice, 1736 - Madrid, 1776), to whom we could probably attribute the execution. The youngest son of Giambattista, the painter trained in the family workshop in Venice, but followed his father both to Würzburg, where he was called to decorate the residence of Prince-Bishop Philipp von Greiffenklau in 1750, and to Madrid at the court of Charles III of Spain to decorate the Palacio de Oriente, the new Court Palace. Once he returned to the lagoon city on a permanent basis, Lorenzo began to pursue his own profession independently, specialising brilliantly in portraiture and, as in this case, reproducing works that evoke his father's canvases. Among Lorenzo Tiepolo's works we can mention, in correlation to our painting, the Portrait of a Philosopher with Book (Baltimore Art Museum, imm.1, https://catalogo.fondazionezeri.unibo.it/entry/work/69485/), the Portrait of a Man in Oriental Dress (Pavia, Musei Civici del Castello Visconteo, imm.2, https://catalogo.fondazionezeri.unibo.it/scheda/opera/69477/), the Portrait of a Young Man with Turban (Christie's Auction, New York. Imm.3, https://catalogo.fondazionezeri.unibo.it/scheda/opera/69297/), and Head of an Old Man (Private Collection imm.4). ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilt frame and is accompanied by a certificate of authenticity and descriptive iconographic card. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes approximately 15/20 days; our gallery will take care of the entire 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. 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/
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View Of Venice With Ca' Foscari, Venetian Master 18th And 19th Centuries

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View Of Venice With Ca' Foscari, Venetian Master 18th And 19th Centuries

Venetian master active between the 18th and 19th centuries Gabriele Bella (Venice 1730 - Venice 1799) circle View of Venice with Ca' Foscari on the Grand Canal and the mouth of the Rio Novo
 Oil on canvas 50 x 60 cm Framed 58 x 69 cm. In very good overall condition The particular view of Venice immortalised in our painting, atypical with respect to the normal catalogue of 18th and 19th century Venetian views, illustrates in the foreground the 15th-century façade of Palazzo Foscari (today the seat of the University) situated in the anointed area that intersects the Grand Canal and the Rio Novo. One of the most unique examples of Venetian Gothic architecture, located in the heart of the lagoon city, the palace was commissioned by Francesco Foscari, one of the most important Doges the Republic ever had. The façade of ‘Ca’ Foscari', as it is also called, is reminiscent in structure of the Doge's Palace, with the beautiful second-floor loggia with eight openings, above which is a stone frieze with the doge's family coat of arms and a jousting helmet with a lion with spread wings. Thanks to its location, which allows the view to sweep from the Rialto Bridge to the Accademia Galleries, the second floor was chosen by many painters (such as Canaletto, Michele Marieschi, Francesco Guardi) as a place to paint views of the Grand Canal. This work was presumably taken from the series of prints published in the 17th century, most famously those by Luca Carlevaris in the collection entitled ‘Le fabriche, e vedute di Venetia disegnate, poste in prospettiva et intagliate da Luca Carlevarijs’ (Reale 1995, pp. 17-47), which constituted the starting point and fundamental model for Venetian vedutismo, and borrowed from the major painters of the 18th century, including Marieschi, Canaletto and Bellotto. Although it is difficult to identify the hand of our author with certainty, we can however see strong correspondences with the works of Gabriele Bella (Venice 1730 - 1799), one of the protagonists of the grandiose season of 18th century Venetian vedutismo. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes approximately 15/20 days; our gallery will take care of the entire 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. 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/    
Jupiter And Antiope, Anthoon Van Dyck (antwerp 1599 - London 1641) Follower

Jupiter And Antiope, Anthoon Van Dyck (antwerp 1599 - London 1641) Follower

Anthoon van Dyck (Antwerp 1599 - London 1641) follower Large canvas depicting ‘The Myth of Jupiter and Antiope’ (Ovid's Meramorphoses, Book VI) Oil on canvas 116 x 150 cm. - with frame 133 x 165 cm. FULL DETAILS (click HERE) We are sharing a valuable work, able to fascinate any connoisseur or collector of works from the Flemish Golden Age: we are talking about a painting of the famous ‘Jupiter and Antiope’ painted by Anthoon van Dyck (Antwerp 1599 - London 1641) in 1620, of which several examples are known, one of which is in the collection of the Museum of Fine Arts in Ghent, another in the Wallraf-Richartz Museum in Cologne (imm1 and imm2). This episode, taken from Book VI of Ovid's Metamorphoses, shows the seduction of the nymph Antiope by the god Jupiter. The beautiful nymph, asleep and lying on the ground wrapped in a red drape, was seduced by the Lord of Olympus, who took the form of a satyr for the occasion, as he could not have her in divine form. Van Dyck depicts here the moment of the initial deception, when Antiope abandons herself in the embrace of Jupiter, who lasciviously crawls silently towards her bed with his hand outstretched to touch her. He is depicted with the horns and hairy legs of a satyr, while his muscular build and the eagle in the background allude to his true identity as Jupiter, king of the gods. The plasticity of the figures and the combination of colours, intense and bright, are exceptional and enhance the sensual character of this composition, enhanced by the bold and sculptural poses. Consider that Van Dyck was only 20 years old when he created this painting, demonstrating an astonishing artistic maturity, with a scene of strong sensual character, and his virtuosity in immortalising nude figures. In fact, the painting was immediately appreciated by 17th-century collectors who, under the pretext of the mythological theme, had the excuse of admiring subjects with a markedly erotic tone (always considering the historical context) without fear of repercussions. The work's success encouraged its widespread diffusion, so much so that numerous paintings are known to have been executed by artists either chronologically close to Van Dyck or active at a time immediately after its creation, in order to please some patrons who wished to keep their own version. It is our opinion that the painting presented here, finely executed, is the work of a Flemish artist, active between the 17th and 18th century, to be sought among the followers of Anthony van Dyck, who masterfully reworked his masterpiece. ADDITIONAL INFORMATION: The painting is in good condition with some restoration on the surface. 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/
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Portrait Of Aristocrat, Anthonis Moor Van Dashorts (1519 - 1576) Follower

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Portrait Of Aristocrat, Anthonis Moor Van Dashorts (1519 - 1576) Follower

Anthonis Moor van Dashorts, known as Anthony Moor (Utrecht 1519 - Antwerp 1576) follower Portrait of aristocrat in Renaissance attire Oil on canvas 46 x 32 cm - 65 x 53 cm (with frame) Provenance: Isbilya Seville June 22, 2022 (as 17th-century Italian painter € 7,200) 17th-18th century The proposed fine portrait, effigying a gentleman dressed in Renaissance fashion, is historically and culturally to be placed in the production of the best Flemish portrait school. In particular, the stylistic models from which our skilful author must have been active are those of the painter Sir Anthonis van Dashorst Mor (1517/ 1576), one of the most influential portrait painters of his generation and a great interpreter of seventeenth-century Flemish civilization. Comparisons with some of his specimens are easy, among them the ''Portrait of a Gentleman'' (Christie's London, 4/24/98, lot 44, https://rkd.nl/images/46840) attributed to Moro and which at first impression would portray precisely our effigy. Also, similar in style and composition, the ''Manly Portrait'' (Lempertz, Cologne 1907-11-18,lot 32, https://rkd.nl/images/52052), the ''Manly Portrait'' (Mauritshuis, The Hague, https://www.mauritshuis.nl/it/scopri-la-collezione/collezione/559-portrait-of-a-man/) or the ''Manly Portrait, probably Louis of Nassau'' (National Museum of Art of Catalonia, Barcelona, https://rkd.nl/images/203369) also with an effigy almost equal to that of our canvas. Returning to our painting, a remarkable pictorial proof in the field of portraiture, it portrays a young man of high social standing, immortalized in the most classic Nordic tradition, three-quarter view, with his gaze intensely scrutinizing the viewer. Going into detail, note the meticulous but slight rendering of the facial features, the sharpness of the contours emphasized by the light, and the extraordinary expressive power of the eyes. He is dressed in an elegant black suit, the favorite color of princes, bourgeois and highly educated Renaissance intellectuals, topped with a high white collar, typical elements of fashionable clothing in the second half of the 16th century. There are no inscriptions or signs that could lead us to identify the identity of the effigy, but it could also likely be the painter's self-portrait, and such a hypothesis would be supported by comparison with some of the painter's prints, or again with the Self-Portrait kept at the Uffizi Museum in Florence (https://rkd.nl/images/40949) although here immortalized at a more mature age. With a bearing that is at once haughty yet refined, the author has here condensed many of the characteristic attributes of Van Dashorst Mor's style. As can be seen from the work under consideration, his style owes much to Italian Renaissance portraiture, although his surfaces are more detailed and polished, in keeping with a style of clear Nordic ancestry. For this reason, the work has probably been linked in the past to the Italian painting sphere (Isbilya Seville Auctions June 22, 2022, as a 17th-century Italian painter, see details in images). ADDITIONAL INFORMATION: The painting is sold complete with a nice 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. In case of purchase of the work 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. 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 look forward to seeing you! Contact us for any information or to arrange a visit, we will be happy to respond. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/