Galleria Castelbarco
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
  • The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)
The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)

4900 €


Giovan Bernardo Lama (Naples, 1536-1600 ca.) The Pietà oil on panel 51 x 41 cm. Antique frame (defects and faults) 66 x 56 cm. Full details of the work (click HERE) Observing the exquisite quality and the elegance of the design of this intense 16th century Pietà, we can compare its execution to the most refined works of late Neapolitan Mannerism: in particular, there are many points of contact with the style of Giovan Bernardo Lama (Naples, 1536-1600 ca.), to whom we can easily attribute its authorship, whose flourishing workshop took up this subject in numerous variations. A great exponent of the Italian Renaissance, active mainly in Naples, Lama was inspired by a purely Raphaelesque culture. He trained around 1550 in the workshop of Polidoro da Caravaggio, who had arrived in Naples during the sack of Rome in 1527. The arrival of Giorgio Vasari in Naples was also decisive for his painting, thanks to that new language that had already conquered Rome. And it was precisely Vasari and the Tuscan-Roman styles, appropriately filtered by the tearful and compassionate expressionism of Luis de Vargas, that influenced the Lama's first attempts. In the painting proposed here, our author has been able to render the moment of Christ's death in an extraordinary way, demonstrating precision, realism and emotional depth in the interpretation of the sacred union between the Madonna and Christ, through a masterful play of contrasts of colours, light and shadow. The pietistic and devotional style of Counter-Reformation painting is evident: the representation, of great dramatic effect, shows Christ, after being taken down from the cross, welcomed into the arms of the Virgin. The intense maternal compassion is revealed in the expression on her face which, aware of her son's destiny, exudes suffering, but also calm resignation. The work is a version, made for domestic devotion, of the Lama altarpiece sold at Sotheby's New York (25 January 2001) and now in the basilica of San Giacomo degli Spagnoli in Naples (see image in detail), made around the 1560s. URL https://it.m.wikipedia.org/wiki/File:Giovanni_Bernardo_Lama_-_La_Piet%C3%A0.jpg The Pietà in the Church of Saints Severinus and Sosius (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500217826) is very similar. Great visual impact, solemn composition, strong colours and figures with sculpted features are the characteristic elements of this Michelangelo-style Pietà, which depicts a more incisive moment in the life of Christ. ADDITIONAL INFORMATION: The painting is sold complete with an antique gilded frame that has been repaired, restored and has defects, and 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 in 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 and 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/
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Galleria Castelbarco
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38064 Riva del Garda
Country: Italy
Tel.: +39 (0)349 4296 40
E-mail: info@antichitacastelbarco.it
Website: www.antichitacastelbarco.it
St Jerome, Alessandro Bonvicino, Known As Moretto (brescia, C. 1498 – 1554)

St Jerome, Alessandro Bonvicino, Known As Moretto (brescia, C. 1498 – 1554)

Sixteenth-century Lombard school Workshop of Alessandro Bonvicino, known as Moretto (Brescia, c. 1498 – 1554) St Jerome Oil on canvas 81 x 68 cm. - In a fine antique frame 98 x 85 cm. Provenance: Pandolfini Florence, 29 September 2020 (16th century Lombard school, lot 161, estimate €10,000 / 15,000) https://www.pandolfini.it/uk/auction-1005/scuola-lombarda-sec-xvi-1-12020006477 Full details of the work (Click HERE) A valuable depiction of St Jerome, a doctor of the Church who lived between the 4th and 5th centuries, portrayed here according to the typical iconography that shows him in the dual role of penitent hermit in the desert and humanist intent on reading, in a deserted and wild landscape at the end of which there is a view of a city, symbolising the contrast between nature and civilisation. The multifaceted figure of St Jerome, hermit, penitent, cardinal and fine humanist, who translated the Bible into Latin, was very popular in Lombardy between the 15th and 16th centuries, the supreme example of the harmony between classical knowledge and Christian virtue. He was therefore a favourite subject for a refined and cultured audience, and was often illustrated in small works intended for private devotion. His intensely pensive gaze is turned towards the open book, his canonical iconographic attribute, referring to his fruitful activity as a scholar and theologian, which made him the forerunner of the Renaissance humanist. It is a work of remarkable quality in terms of illustrative clarity, pictorial refinement and chromatic sensitivity, a testimony of the mature Renaissance, painted in the Lombardy area around the end of the sixteenth century, and specifically indebted to the models conceived by Alessandro Bonvicino, known as il Moretto (Brescia, c. 1498 – 1554), one of the leading artists of the early Renaissance in Brescia, who repeatedly tackled the subject in a variety of illustrative ways. Devotional paintings such as this were among Bonvicino's most important works, and the fact that there are no other images that are strictly analogous to this one, suggests that the canvas should be included in the extremely complex catalogue of works produced by the workshop, presumably under the supervision of the master himself. The Venetian influence is strongly felt in the work: both the painting style and the colour scheme, in which the bright green of the drapery enveloping the Saint is the dominant colour, are elements that recall the works of Titian. Behind Saint Jerome, beyond the space of a window, we can see a wide hilly landscape with a clear sky, characterised by a vivid blue, typical of the artist from Brescia, with just a few clouds. The figure of St Jerome frequently appears in the painter's works, many of which have been lost, but traces of which remain in literary sources; in particular, the chromatic, light and tonal intonation of the image, although more composed and traditional, may recall the St Jerome in Meditation of the Borromeo collection at Isola Bella dated between 1540 and 1545 (fig.1 - https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00086/). The figure, the face and the attitude evoke the St Luke of the Chapel of the Sacrament in St John the Evangelist (fig.2 - https://catalogo.beniculturali. it/detail/HistoricOrArtisticProperty/0300044732), while the type of tunic with the knot on the shoulder can be found in one of the apostles in the Assumption of the Old Cathedral (fig. 3 - https://it.m.wikipedia. org/wiki/File:Assunzione_della_Vergine_%28Moretto_Duomo_vecchio%29.jpg), or in the Madonna with Child and St Jerome from a Private Collection (fig. 4 - https://it.m.wikipedia.org/wiki/File:Madonna_con_bambino_e_san_Girolamo.jpg). These clues therefore seem to confirm the close relationship between the work and the artist's production. We organise and take care of the shipment of the purchased works, both in 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 and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Announcing Angel, Carlo Maratta (camerano, 1625 – Rome, 1713) Workshop

The Announcing Angel, Carlo Maratta (camerano, 1625 – Rome, 1713) Workshop

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century frame Posthumous inscription on the back with an inappropriate date and name: ‘Sarnelli 1730’ Full details of the work (Click HERE) The proposed work depicts the Archangel Gabriel as he is about to make the supreme announcement to the Virgin, offering her the canonical white lilies, symbol of purity and chastity: it is a splendid subject, realised with great stylistic quality, probably commissioned for private use and therefore particularly pleasant and easy to place. The Angel has the appearance of a young man of rare beauty, with delicate features, wrapped in a white tunic with soft drapes, all characterised by an intense classicism, where a balanced composition directs the observer's attention to his face. Observing the stylistic characteristics of pleasing quality, both from the point of view of compositional invention and from the point of view of execution, and the elegance of the design, we are led to attribute it to a painter of Roman origin active between the end of the 17th century and the beginning of the following century. In particular, the work can be attributed to an artist who was active in the close entourage of the master Carlo Maratta (Camerano 1625 - Rome, 1713), one of the greatest exponents of 17th century classicism, or to an artist who was active in his flourishing Roman workshop. The canvas clearly highlights the master's typical qualities, with a style capable of calibrating the taste of classicism - the figure is distinguished by an idealised beauty, which draws its basis from the ‘classic’ models of Guido Reni - with a baroque devoid of excesses, two apparently contrasting tendencies that Maratta was able to reconcile with surprising results. Thanks to the exceptional critical and collector's fortune, his works constituted an absolute reference model, a paradigm of a pictorial style balanced in all its components (design, colour, composition, iconography), making it a point of reference in the Roman art scene. A hard-working group of pupils and followers gravitated around the master, and even today it is very difficult to distinguish, from an attributive point of view, the compositions replicated by the author from those instead entrusted to the pupils, especially those intended for easy distribution and therefore appreciated on the market. ADDITIONAL INFORMATION: The painting is sold complete with a nice wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in 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 and 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/
Francois Boucher (paris, 1703 - 1770), The Surprised Lovers/the Pleasant Le

Francois Boucher (paris, 1703 - 1770), The Surprised Lovers/the Pleasant Le

Francois Boucher (Paris, 1703 - 1770) - workshop/circle - Pair of paintings The Surprised Lovers (Les amants surpris)/The Pleasant Lesson ('LAgréable Leçon) 18th century Oil on canvas 46 x 39 cm - Framed 71 x 61 cm All the details of the two works (click HERE) We present this splendid pair of paintings, works by a French painter from the circle of Francois Boucher (Paris, 1703 - 1770), one of the most admired and successful artists in mid-18th century France, and depicting a riot of the canons of the Rococo period - the most delicate, light and at the same time elegant of styles - capable of interpreting the peculiarities of French society of the Ancien Régime in painting. Particularly well known for his idyllic, Arcadian, sensual and intimately amorous paintings, Boucher had the ability to delight French aristocrats thanks to the subtle ironic intent of his scenes. The two compositions, painted around the 18th century by an artist from his workshop, are part of a series dedicated to pastoral themes, depicting joyful children, always immersed in bucolic environments, engaged in romantic activities. Love, represented in all its lightness and as a hymn to joy, was always emphasised by erotic facets, and our paintings also contain symbols and allusions that would have been clearly understood and read by the spectators of the time. The first, ‘the pleasant lesson’, comes from a painting by François Boucher (1748; oil on canvas, 92x78 cm, National Gallery of Victoria, Melbourne, URL: https://www.ngv.vic.gov.au/explore/collection/work/3803/) in which a pair of young shepherds are immersed in an Arcadian environment; they are intent on watching over their flock of sheep, while the young man lets his companion play the flute, not without ambiguity, capturing the playful spirit much loved in the French court of the time. The detail of the ruined fountain is noteworthy, on whose pediment you can read the words ‘Fountain of Truth’, surmounted by a splendid stone lion with its head raised, image and icon of faith and strength. The second painting, ‘The Surprised Lovers’, is also based on a painting by François Boucher, now lost, but known from the famous engraving by René GAILLARD (https://collections.louvre.fr/ark:/53355/cl020557780) The painting shows the same amorous dynamics, capturing an intimate and romantic moment between a young couple of lovers, hidden in a wooded area among uncultivated grass, the perfect place for a secret rendezvous. The two lovers are embracing, and while the young man seems intent on whispering something sweet to her, they are interrupted by a farmer with a scythe in his hand and his dog, traditionally alluding to amorous skill, barking at their feet. Looking at the scenes, the overwhelming sensation is one of grace, emphasised by the graceful poses of the protagonists and the masterful use of the colour palette, where the colours are light and bright. Francois Boucher and his workshop dedicated a large part of their activity to this type of subject, the symbol par excellence of the frivolous pleasures of life to which the aristocratic class aspired, thanks to the great fame of the master and the copious requests from collectors. Our works are to be attributed to a pupil or an assistant of the painter. ADDITIONAL INFORMATION: The paintings are sold complete with 2 attractive gilded frames and are accompanied by a certificate of authenticity and descriptive iconographic sheet. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the paintings in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)

The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)

Giovan Bernardo Lama (Naples, 1536-1600 ca.) The Pietà oil on panel 51 x 41 cm. Antique frame (defects and faults) 66 x 56 cm. Full details of the work (click HERE) Observing the exquisite quality and the elegance of the design of this intense 16th century Pietà, we can compare its execution to the most refined works of late Neapolitan Mannerism: in particular, there are many points of contact with the style of Giovan Bernardo Lama (Naples, 1536-1600 ca.), to whom we can easily attribute its authorship, whose flourishing workshop took up this subject in numerous variations. A great exponent of the Italian Renaissance, active mainly in Naples, Lama was inspired by a purely Raphaelesque culture. He trained around 1550 in the workshop of Polidoro da Caravaggio, who had arrived in Naples during the sack of Rome in 1527. The arrival of Giorgio Vasari in Naples was also decisive for his painting, thanks to that new language that had already conquered Rome. And it was precisely Vasari and the Tuscan-Roman styles, appropriately filtered by the tearful and compassionate expressionism of Luis de Vargas, that influenced the Lama's first attempts. In the painting proposed here, our author has been able to render the moment of Christ's death in an extraordinary way, demonstrating precision, realism and emotional depth in the interpretation of the sacred union between the Madonna and Christ, through a masterful play of contrasts of colours, light and shadow. The pietistic and devotional style of Counter-Reformation painting is evident: the representation, of great dramatic effect, shows Christ, after being taken down from the cross, welcomed into the arms of the Virgin. The intense maternal compassion is revealed in the expression on her face which, aware of her son's destiny, exudes suffering, but also calm resignation. The work is a version, made for domestic devotion, of the Lama altarpiece sold at Sotheby's New York (25 January 2001) and now in the basilica of San Giacomo degli Spagnoli in Naples (see image in detail), made around the 1560s. URL https://it.m.wikipedia.org/wiki/File:Giovanni_Bernardo_Lama_-_La_Piet%C3%A0.jpg The Pietà in the Church of Saints Severinus and Sosius (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500217826) is very similar. Great visual impact, solemn composition, strong colours and figures with sculpted features are the characteristic elements of this Michelangelo-style Pietà, which depicts a more incisive moment in the life of Christ. ADDITIONAL INFORMATION: The painting is sold complete with an antique gilded frame that has been repaired, restored and has defects, and 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 in 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 and 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/
View Of Rome With The Piazza Del Campidoglio, Gaetano Vetturali workshop

View Of Rome With The Piazza Del Campidoglio, Gaetano Vetturali workshop

Gaetano Vetturali (Tuscany, Lucca, 1701-1783) workshop View of Rome with the Piazza del Campidoglio and the Cordonata Oil on canvas 44 x 75 - Framed 61 x 90 Full details of the painting (click HERE) The Roman view examined here shows us one of the most famous places in the Eternal City, where the painter, as if in a snapshot, immortalises a precise moment in the urban life of the time, animated by numerous elegantly dressed men and women. We can see the majestic Piazza del Campidoglio, with the bronze equestrian statue of Marcus Aurelius in the centre, surrounded by the Palazzo Senatorio, Palazzo dei Conservatori and Palazzo Nuovo; the painting highlights the Cordonata, the stairway designed by Michelangelo Buonarroti that connects Piazza del Campidoglio with the Piazza d'Aracoeli below; on the balustrade of the staircase, at the top, are two large Roman sculptures of the Dioscuri, the twins Castor and Pollux. An emblematic corner for the history of Rome, the Capitoline Hill has been a place of celebration and great importance since Roman times: it was in fact in this walled area that the main temples were located (including those dedicated to the so-called Capitoline Triad: Jupiter, Juno and Minerva) and it was also the site of the Tabularium, a building of memory, where the public archives of the State were kept, from the decrees of the Senate to the peace treaties. The painting, datable to the first half of the 18th century, shows an evident reference to 18th century Venetian Vedutism both in its composition and style, it can be attributed to the workshop of the Lucca painter Gaetano Vetturali (17011-1783), who achieved considerable success in his home town and in Tuscany for his original interpretation of landscapes in the Venetian style and for the evocative scenic effects. A painter characterised by an eclecticism of interests and works, Vetturali specialised in the creation of Venetian-style views inspired by Canaletto, and of Roman or Florentine ruins and panoramas, always enjoying great success. In the paintings in question we can see the main characteristics of his production, the precise rendering of the individual buildings, so true to life as to constitute historical documents of the landscape of the time. Although it is plausible that he trained in Venice, Vetturali spent most of his painting career in Tuscany, in Lucca, where his workshop fulfilled numerous local commissions in the style of the ‘capriccio vedutistico’ in the wake of Marieschi, and with strong connections to Francesco Albotto. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in 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 and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Pair of antique Flemish painting 18th - 19th century Self-portraits of Pierre Paul RUBENS (Antwerp 1599 - London 1641) and Anthoon van DYCK (Antwerp 1599 - London 1641) Oil on panel 23 x 19 cm. (each) Framed 40 x 33 cm. (each) Complete details of the works (click HERE) A pair of antique paintings that reproduce the two famous self-portraits of the two greatest masters of the Golden Age of Flemish painting, Rubens and Van Dyck: the works, painted on oval panels and enriched by two beautiful golden wooden frames, are of pleasant impact and of great decorative value. It was very fashionable among art collectors between the 18th and 19th centuries to decorate their homes and palaces with copies of the most ancient and famous paintings; these works of art were chosen for their decorative value, and are still perfect for placing in a living room or study. Finely painted, they are precise replicas of the most famous self-portraits of the two painters. The first is the self-portrait of Pierre Paul Rubens painted between 1623 and 1625, kept at Windsor Castle, made for the Prince of Wales, the future Charles I, King of England, who wanted to have an effigy of the famous painter in his collection. The second is a self-portrait by Anthoon van Dyck dated 1632, currently at the Uffizi Gallery in Florence. In both works the subjects are portrayed wearing dark, sober but fashionable clothes made of precious fabrics, typically worn by men belonging to the upper middle class or knights at that time. They have no attributes that allude to their profession, although they wear gold chains, alluding to the success and wealth they had achieved in life. Without doubt, both images of the two Flemish masters were copied many times and were widely circulated, also through numerous engravings. ADDITIONAL INFORMATION: The paintings are sold complete with 2 attractive antique gilded wooden frames and are accompanied by a certificate of authenticity and a descriptive iconographic sheet. We organise and take care of the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. In case of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes about 10/20 days. Our gallery will take care of the whole process until it is obtained. All costs for this procedure are included. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Charles Ii, King Of Spain, As A Child - Juan Bautista Martínez Del Mazo

Charles Ii, King Of Spain, As A Child - Juan Bautista Martínez Del Mazo

Attributed to Juan Bautista Martínez del Mazo (Castile 1611 - Madrid 1667) pupil and collaborator of Diego Velázquez Portrait of Charles II, King of Spain, as a child (1661 -1700) Spain, c. 1670 Oil on canvas 68 x 49 cm. - In antique frame 96 x 75 cm. Full details of the work (click HERE) The analysis of this portrait, and in particular the style with which its features have been outlined, brings us back to the great tradition of the 17th century Spanish school. The portrait depicts the young King Charles II of Spain, dressed in typical Spanish fashion, the youngest and only son of Philip IV of Spain and his second wife Maria Anna of Austria, as well as the last of the Habsburg dynasty to rule Spain. which portrayed the young ruler in full length at the age of four (dated 1665), dressed in a black suit and cape, and a large feathered hat, presumably shortly after the death of his father Philip IV, to celebrate the young man's accession to the throne and his proclamation as King of Spain. (see photo in detail) URL: https://www.rct.uk/collection/404964/carlos-ii-king-of-spain-as-a-child-1661-1700 He holds a sceptre in his left hand and wears the Order of the Golden Fleece, while the hilt of a silver-adorned sword is visible from his left cuff, adding to the formality and solemnity of the portrait. The original composition, as well as the proposed one, initially attributed to Veleasquez (Seville 1599 - Madrid 1660), was later attributed to the paintings of his son-in-law Juan Bautista Martínez del Mazo, a pupil of Velázquez, and then his collaborator for almost three decades, in the production of court portraits. The long period of close association enabled him to fully assimilate the style of his master, creating compositions that strongly reveal his direct influence. After Velázquez's death in 1660, Mazo succeeded his father-in-law as court painter to Philip IV of Spain, then to Charles II until his death in 1667. Our canvas is a replica of the large painting in the Royal Collection, made by Mazo himself in a smaller format, depicting the king in half length, presumably as a gift for a representative occasion. Several other similar versions of the composition are known; an anonymous work in the Royal Monastery of San Lorenzo de El Escorial, in which the child king holds a globe and a sceptre but which is otherwise close to the painting in the Royal Collection and another anonymous version in the Prado Museum (P002534). In the latter, the lying lion is missing and a dog has been added. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and an iconographic description It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
View Of Venice With The Guglie Bridge, Gabriele Bella (venice 1730 – 1799)

View Of Venice With The Guglie Bridge, Gabriele Bella (venice 1730 – 1799)

Gabriele Bella (Venice 1730 – Venice 1799) attributed View of Venice with the Guglie bridge (or the Cannaregio bridge, as it was formerly called) circa 1750/60 oil on canvas, 45 x 60 cm. with frame 58 x 73 cm. The proposed view of Venice, which immortalises the Ponte delle Guglie over the Cannaregio Canal, is a work of excellent quality attributable to Gabriele Bella (Venice 1730 - 1799), one of the protagonists of the grandiose season of Venetian landscape painting of the eighteenth century, whose painting is characterised by an eclectic taste, influenced by the examples of the illustrious prototypes of Canaletto. Due to the quality and type of the figures that animate the painting, as well as the compositional type, noting in particular the rendering of the architecture, the painting can be dated to the second half of the 18th century; the panorama is rendered with a remarkable narrative verve, in fact, while maintaining the Canalettian structure, our author freely describes the activities of navigation and promenading that took place daily in Venice, with a scenic composition also taken from Marieschi. Active throughout his career in Venice, Bella worked for a long time exclusively for the Giustiniani family, patrons who commissioned him to paint a grandiose series of about seventy Venetian views for their home (now the Querini-Stampalia art gallery), depicting the festive life of the Serenissima in its last century of life. In addition to this group of famous paintings, there is a body of work that the painter produced for the rest of his commissions, a series of more traditional views depicting important places and buildings, and to which we can also link our painting. Very well executed, characterised by a slight luminosity and a chromatic range of delicate hues, emphasised by the contrast between light and shadow, the canvas is a very interesting testimony of 18th century Venice, imbued with a poetry that effectively renders the lagoon atmosphere. The view, in good condition, with a not recent relining, is enriched by a beautiful golden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in 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 and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
SOLD
Princess Henriette-anne Of France As Flora, Jean-marc Nattier (paris 1685–1776) School Of

SOLD

Princess Henriette-anne Of France As Flora, Jean-marc Nattier (paris 1685–1776) School Of

School of Jean-Marc Nattier (Paris 1685 – Paris 1776) Portrait of Princess Henriette-Anne of France as Flora (Versailles, 1727 – Versailles, 1752) daughter of Louis XV (1727-1752) French master, 18th-19th century Oil on canvas (95 x 128 cm. - Framed 107 x 141 cm.) Full details of the work (click HERE) During the Rococo period it became very fashionable for the most influential noblewomen in France to have their portraits painted in the guise of goddesses, and the French painter Jean-Marc Nattier (1685-1766) was perhaps the first to launch this trend, thanks to paintings full of elegance and charm, such as the one he painted of Princess Henriette Anne of France, portrayed as Flora, the Roman goddess of spring. The eldest daughter of King Louis XV of France and his wife Maria Leszczy?ska, she was the twin sister of Louise Elisabeth of France, and later became known as Madame Henriette. The painter Jean-Marc Nattier was commissioned to paint her in 1742, with the princess just fifteen years old, for the queen's private apartments in Versailles (see image in detail), where it is still today (MV 3818), and belongs to the famous series of portraits of Louis XV's daughters. A painting that portrayed the king's daughter in an unusual pose, without opulent clothes and jewellery, but surrounded only by flowers, without the typical representative pose, was a pictorial novelty that immediately received great appreciation. This, as well as the other allegorical-mythological portraits that followed, gave the painter a decade of great success in Paris, as all the ladies of King Louis XV's court wanted to see their image in classical mythological clothes as modern divinities. The figure of the young girl is part of the poetic world of Olympus: the princess as Flora who composes a crown of flowers, lying on a rock and surrounded by nature, is simply dressed in a white dress embellished with a blue drape, wrapped in a cloudy sky with pink reflections. In the distance, on a suitably positioned slope, a city appears. A conspicuous series of replicas of the work followed, including of course the one destined for the king's bedroom at the Château de Choisy (1745, Versailles, MV 4457), then the one kept at the Louvre (https://collections.louvre.fr/en/ark:/53355/cl010054854), or the one in Florence at the Uffizi Museum. Another version, now lost, from the Rothschild collection in Paris, was the copy that appeared in the collection of the Duke of Orléans at the Palais-Royal in 1826. The painting we propose is a valuable replica, dating from between the 18th and 19th centuries, which reflects the quality and definition of the details. It fully expresses the formal and aesthetic elegance required by the master's workshop for its demanding aristocratic clientele. Note the meticulous rendering of the facial features and the sharpness of the contours emphasised by the light, both in the details of the face and in the reflections on the armour, rendered with great skill. The work is presented in a good state of conservation, with a gilded wooden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We organise and take care of the shipment of the purchased works, through professional and insured carriers, within Italy and abroad. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Seascape With Sailing Ships, Marco Ricci (belluno, 1676 – Venice, 1730)

Seascape With Sailing Ships, Marco Ricci (belluno, 1676 – Venice, 1730)

Marco Ricci (Belluno, 1676 – Venice, 1730) attributed Seascape with Sailing Ships oil on canvas 55 x 84 cm - with frame 71 x 100 cm Full details of the work (click HERE) This evocative coastal view, dating from between the end of the 17th and the beginning of the 18th century, where the choppy waves of the sea crash impetuously against the coast, can be attributed to the painter Marco Ricci (Belluno, 1676 – Venice, 1730), one of the founders of 18th century Venetian landscape painting. In his personal expressive style, especially in the initial phase of his painting, the tendencies of landscape painting present in Italy at the end of the 17th century converge, and in particular his debt to foreign landscape painters working in Venice at the end of the 17th century, such as Johan Anton Eismann, Luca Carlevarijs or Pieter Mulier, known as Il Cavalier Tempesta. Several scholars have hypothesised that Marco Ricci may have travelled to Rome at the turn of the century, where he had the opportunity to see first-hand the paintings of Salvator Rosa, one of the greatest landscape painters of all time, whose works were also present in the homes of the Venetian patriciate of the time. Finally, in this maze of stylistic references we cannot fail to mention the Genoese Alessandro Magnasco, from whom we see an increasingly rapid and loose brushstroke, which he acquired during his stay in Milan in the last decade of the 17th century. The linguistic references just mentioned can be found in many paintings that can be traced back to an early phase of our painter's career (therefore presumably still in the 17th century), to which it would be advisable to also place our canvas: In fact, there are still strong links with 17th-century landscape painting, particularly in the use of strong, dark, almost iron-like tones, and very accentuated chiaroscuro contrasts, with dark-coloured clouds cluttering up the sky. The influence of Magnasco's painting (to whose hand our canvas was previously linked) is evident, especially in the small figures of fishermen in the foreground extracting a fishing net from the water, and we can compare the characters with the Stormy Sea with Shipwrecked Sailors, North Carolina Museum (https://catalogo.fondazionezeri.unibo.it/scheda/opera/68587/), where the powerful brushstrokes almost make us perceive the roar of the waves crashing against the reef. Therefore, based on the stylistic characteristics, we cannot exclude the collaboration of the Genoese painter in some details. ADDITIONAL INFORMATION: The work is sold complete with a pleasant wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in 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 and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
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)

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/
Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop

Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm.in a small temple frame 75 x 55 cmwith an old label on the back This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch for a more complex work, or a painting intended for domestic devotion. It is a pleasant painting, although it does not illustrate any iconographic complexity, impregnated with the late Mannerist style still prevalent at the beginning of the 17th century, characterised by a gentle religiosity, rendered through a manner of studied simplicity and grace. The work is in good condition, with a sound and stable pictorial material, with some small defects and lacks, which do not affect its value. The temple-shaped frame, old but not from the period, is also in excellent condition with some signs of ageing. ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and a descriptive iconographic card. We organise and take care of the shipment of the purchased works, through professional and insured carriers, within Italy and abroad.Contact us for any information, we will be glad to answer your questions. In the case of a work being purchased by a non-Italian client, 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. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/