Antonio Tibaldi (rome, 1635 - 1675) Workshop Of Still Life With Armour, Curtains And Sculpture - Galleria Castelbarco - Recent Added Items

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Antonio Tibaldi (rome, 1635 - 1675) Workshop Of Still Life With Armour, Curtains And Sculpture

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Antonio Tibaldi (rome, 1635 - 1675) Workshop Of Still Life With Armour, Curtains And Sculpture

5900 €


Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. DETAILS (link here) Beautifully scenic painting depicting a still life composed of an opulent display of objects, including several fine curtains embroidered and trimmed with gold trimmings and fringes, parts of a dark parade armour with gold borders, sculptures, an altar adorned with winged sphinxes and precious chiselled metal vases. These images, in addition to the aesthetics of the decoration, are imbued with allegorical meanings, so much so that these compositions can be interpreted as refined Vanitas: in fact, they are a kind of allegory that probably invited the observer to meditate on the futility of vain glory (which here is symbolised by the weapons or the altar) or earthly riches (the precious objects and fabrics). The pictorial characters declare its execution by a capable 17th century painter of the Italian school, whose characters evoke the teachings of the best Flemish masters of previous generations. The evident Roman post-Caravaggesque influences are evident in the contrasts of light and the dense pictorial material, all of which allow the painting to be attributed to the circle of Antonio Tibaldi (Rome, c. 1635 - post 1675), a skilful painter and follower of Francesco Fieravino known as the Maltese and therefore a highly regarded painter of still lifes similar to those of his master. Active mainly in Rome, the painter was extremely prolific and enjoyed extraordinary success with the collectors of the time. His presence and the notoriety he achieved are testified by the many compositions that have been returned to him in recent times, kept in the most important public and private Roman collections of the time, such as those of the Albani, Barberini, Chigi and Colonna families. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant wooden 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. 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

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The Conversion Of Saint Paul, Antonio Tempesta (florence 1555 - Rome 1630)

Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus (LINK) Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the episode, taken from the Acts of the Apostles, in which the young Roman tax collector Saul, while travelling to Damascus at the head of soldiers to persecute Christians, was blinded by a supernatural light coming from a rent in the sky that threw him to the ground. The majestic figure of Jesus appeared from the clouds and addressed the now dismounted soldier, while his companions around him, dazzled by what was happening, fled on their skittish horses. “Saul, Saul, why are you persecuting me?” are the words that Christ addressed to Paul, who, covering his eyes blinded by the glare with his hand, reclines his head. The episode depicts the amazement and fear of the conversion of the soldier Saul, the future apostle of the Gentiles Paul, who spreads his arms and stretches them towards the light, open to receive grace and divine illumination. Although it is a religious subject, it cannot be ruled out that it was intended for private devotion rather than for a place of worship: the painting has a distinctly “secular” rather than devotional character. This work, of which a pendant (link) is available, can be attributed to the workshop or circle of Antonio Tempesta (Florence 1555 - Rome 1630), a leading artist of fundamental importance for the 17th-century development of the “battle” genre in painting. His style, which belongs to the late Renaissance or early Baroque period, is characterised by elements such as the dynamism of the composition, the dramatic use of light and shadow (chiaroscuro), and the expressiveness of the figures. He shaped his art in the culture of late Mannerism at the end of the 16th century, acquired from his early training in Florence in the workshop of the Flemish artist Giovanni Stradano, with whom he collaborated on the decorative work of Palazzo Vecchio. Active mainly in Rome from 1572, he worked for Pope Gregory XIII on the decorations in the Vatican Loggias, and for many of the most noble and influential families, such as the Farnese, Borghese, Giustiniani and Rospigliosi-Pallavicini, and was particularly sought after as an author of historical and biblical battle scenes. In 1613, he created a series of engravings of “biblical battles” inspired by Tasso's “Jerusalem Delivered” for Grand Duke Cosimo II. These subjects brought him great success with the Medici family and the Florentine court, and served as a source of inspiration for his subsequent paintings. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Saint John The Baptist, Marcello Venusti ( 1510 - 1579) Workshop/circle

Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop/circle Saint John the Baptist Oil on canvas (65 x 50 cm. - In frame 74 x 58 cm.) Full details of the painting (click HERE) The work depicts Saint John the Baptist in full length in a moment of meditation in the desert, portrayed with sober elegance, seated in his typical contemplative pose with his index finger pointing to the sky, while his gaze turns to the observer, and with one hand he holds the traditional cross-shaped staff, alluding to Christ's sacrifice on the cross. Characterised by a simplicity that enhances the spiritual purity of the subject, the saint is wrapped in a simple bright red cloak, symbolising the abandonment of material things and the connection with the divine dimension, while the barren and arid environment surrounding him represents solitude and sacrifice, central elements in the saint's life. The depiction conveys a profound spirituality, typical of the iconographic canons required in the 16th century, and can be traced back to a painter still active in that century, or at the beginning of the next, close to Marcello Venusti (1510 - 1579), a painter of Lombard origin but active for most of his prolific career in Rome, whose workshop received numerous commissions for similar subjects. Venusti arrived in the Eternal City around 1545, thanks to the support of Cardinal Alessandro Farnese, and worked first on Perin del Vaga's projects in Castel Sant'Angelo and later alongside Michelangelo in the Pauline Chapel in the Vatican. The work is a smaller version, intended for domestic worship, of the altarpiece commissioned from Marcello Venusti for the church of Santa Caterina dei Funari in Rome. LINK: https://catalogo.fondazionezeri.unibo.it/scheda/opera/16863/ ADDITIONAL INFORMATION: Good condition, complete with gilded frame (not contemporary with the painting). The work is sold complete with certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be happy to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 15-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Portrait Of A Gentleman, John Michael Wright (1617 - 1694)

John Michael Wright (London, 1617 – London, 1694) Portrait of a gentleman in ceremonial dress Oil on canvas 127 x 94 cm. In a gilded frame 140 x 106 cm. This charming portrait, of a celebratory nature, shows a gentleman of high social standing proudly displaying his sumptuous ceremonial dress. He is a young man with a voluminous wig falling over his shoulders, deep-set eyes and a calm, contemplative expression. The artist's great skill is evident in the rendering of his clothing: a dark coat, probably velvet or damask, richly decorated with embroidery and shiny buttons on the front and sleeves, with white lace cuffs. The ensemble is finished with an elegant white scarf tied around his neck and fastened in a buttonhole on his jacket. It is difficult to identify the subject with certainty, but he could be a member of the English upper middle class, a cloth merchant for example, or a nobleman or knight, given the accessories he is holding: a staff in one hand and a sword with a large plumed hat in the other. The work can be attributed to the painter John Michael Wright (London, 1617 – London, 1694), a leading figure in 17th-century English high society, appreciated for his style characterised by sober but elegant realism. He travelled extensively in Europe and for this reason was considered an exceptionally cosmopolitan painter, whose success stemmed precisely from his propensity to blend multiple influences, from traditional English and French painting to, most predominantly, Italian painting. We know for certain that he spent ten years in Rome, where he immediately built up a considerable reputation, enabling him to join the Academy of St Luke in 1648. Wright then travelled to Brussels, where he worked for Leopold William, Archduke of Austria and Governor of the Spanish Netherlands. In 1656, he returned permanently to London, working for the English court, although his great fortune came from commissions outside the court (already monopolised by his main rival Peter Lely), and in particular he won over numerous patrons among the nobility and upper middle class of London. As we can see from the painting in question, his style, although less polished than Lely's, had the great merit of being more penetrating and individual in its characterisation, with his models tending to appear thoughtful rather than simply charming.

Multiplication Of The Loaves, Angelo Solimena (Canale Di Serino 1629-1716)

Angelo Solimena (Canale di Serino 1629 - Barra, 1716) Multiplication of the Loaves and Fishes Oil on canvas 60 x 102 cm Framed 76 x 116 cm Work accompanied by an expert report by Prof. Emilio Negro FULL DETAILS OF THE WORK (CLICK HERE) The painting depicts the miracle of the “Multiplication of the Loaves and Fishes”, a biblical episode narrated in all four Gospels and one of the most emblematic events of Jesus' ministry. The iconography used for our painting is inspired by St John (6:1-13), which recounts that Christ, accompanied by his disciples, arrived in Tiberias, where a crowd of over five thousand people who had been following him and were now exhausted were in urgent need of food. The only provisions available were five barley loaves and two fish that a boy was keeping in a basket, too few to feed the whole crowd. Jesus asked him to bring them to him, ordered the people to sit down, took the five loaves, looked up to heaven, gave thanks and broke them. Then he ordered his disciples to distribute them to all those present, who miraculously ate their fill. As regards the identification of the author of the painting, as pointed out by Professor Emilio Negro in his study of the work, we are in the presence of a depiction that highlights the stylistic features typical of Neapolitan Arcadian painting between the 17th and 18th centuries, derived from knowledge of the works of Francesco Guarino and, above all, those of Luca Giordano. Our canvas replicates (albeit with variations: the flying angels are missing, the colours and the shape of the clouds are different, etc.) a similar, larger composition painted by Giordano in 1705 for the Neapolitan church of Santa Maria Donnaregina Nuova (link: https://www.museodiocesanonapoli.com/complesso-monumentale-donnaregina/moltiplicazione-dei-pani-luca... ). The differences should come as no surprise, as it is well known that many artists used to replicate the most famous works of other masters, from whom they drew inspiration, with certain changes. In particular, observing its stylistic characteristics, the canvas can be linked to the modus operandi of Angelo Solimena (Canale di Serino 1629 - Barra, 1716), the progenitor of a family of artists (father of Francesco Solimena, also known as Abate Ciccio). He worked mainly in the Salerno area, but it was his move to Nocera that brought about the most interesting phase of his artistic career. After receiving commissions from nobles and ecclesiastics, towards the end of his career he had the opportunity to work with his son Francesco, with whom he became acquainted with the dazzling pictorial solutions adopted by Luca Giordano. His painting style is characterised by a unique way of painting with marked light effects and dry but effective drapery. This painting is emblematic of his style, which acts as an ideal link between the methods of his master Francesco Guarino and the Baroque and Neo-Venetian pictorial language of Luca Giordano and later Francesco Solimena himself. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Panoramic View Of Florence, 18th-19th Century Landscape Painter

18th-19th century landscape painter Panoramic view of Florence Oil on canvas 32 x 51 cm In gilded frame 42 x 63 cm Hampel: Paintings 19th/20th Jahrhundert, 21.02.2024, lot 992 (estimate 5000-7000 euros) https://www.hampel-auctions.com/a/Florentiner-Maler-des-ausgehenden-18-fruehen-19-Jahrhunderts.html?... The view captures the essence of a timeless city, offering a panoramic view of Florence, immortalised from one of the most evocative vantage points, most likely from the Boboli Gardens (or the Bardini Gardens), the large park with tree-lined avenues commissioned by the Medici family and built in the second half of the 16th century, which has always been a favourite with Florentines for their walks and with artists for setting up their easels and portraying one of the most beautiful cities in the world. In the foreground, among the lush vegetation and tall cypress trees that frame the scene, the work is animated by elegant figures, probably intent on enjoying the peace and beauty of the place, including elegantly dressed women, some children and two monks on the right-hand side. From this position, we can admire the city's iconic monuments, allowing our gaze to rest on the beating heart of Florence, dominated by Brunelleschi's imposing dome and Giotto's bell tower with the Duomo, which rise majestically above the city's rooftops. We then continue with the stately 14th-century Palazzo Vecchio, from which the Arnoldo tower, once also a prison, rises over 90 metres high. It is an image that evokes the artistic grandeur and history of Florence, inviting you to lose yourself in the contemplation of a panorama that has inspired artists and poets for centuries and extends to the surrounding rolling hills, such as Fiesole and Settignano. The presence of human figures immersed in the landscape, the evocative atmosphere and the celebration of natural and architectural beauty align with the themes and aesthetics of Romanticism, with light and colours contributing to the creation of an evocative atmosphere. Although with a romantic touch, the painting shows attention to detail in the rendering of buildings and figures, while still maintaining a close link with the tradition of vedutismo, which aimed to capture specific views of cities and landscapes. ADDITIONAL INFORMATION: Excellent condition, complete with gilded frame. The work is sold complete with certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 15-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Martino Di Bartolomeo Di Biago (siena 1389 - 1434), Saint Romuald/ Saint A

Martino di Bartolomeo di Biago (Siena 1389 - 1434/35) Pair of paintings S AINT ROMUALD SAINT ALBERT OF MONTALCETO Tempera on linen, on panel 132.3 x 51.8 cm 132.3 x 51.5 cm Framed 155 x 82 cm Provenance: Hampel Munich (10.12.2015, lot 217, estimate € 200,000/E 300,000 https://www.hampel-auctions.com/a/Martino-di-Bartolomeo-di-Biago-1389-Siena-1434-35.html?a=103&s.... Bibliography Published in G. Fattorini, in: Vetera et nova, M. Vezzosi (ed.), Florence 2005, p. 30, figures 3 and 4. A pair of extraordinary works by the Sienese artist Martino Di Bartolomeo, both in excellent condition, belonging to a group of extremely rare paintings from the first half of the 15th century. Created in tempera on canvas, both paintings were subsequently, probably during the 18th century, applied to wood. The works come from the prestigious collection of the Florentine antiquarian and art collector Carlo De Carlo, whose estate was almost entirely sold during the legendary auction in December 2001. Our two paintings were also sold on that occasion, listed in the catalogue under no. 125 (erroneously described as detached frescoes, mounted on wood at a later date). Both paintings depict saints of the Benedictine Order, easily recognisable by their typical white robes. The older of the two, with a beard, wears a magnificent cope, mitre and crosier, identifying him as a bishop and making him recognisable as Romuald. The younger one, on the other hand, wears the habit of the Camaldolese order, and a hare peeks out from one sleeve, so he is undoubtedly Alberto da Montalceto, whose attribute is the hare, an animal he protected from hunters when he was a young hermit. Originally from Siena, Martino di Bartolomeo was the son of the goldsmith Bartolomeo di Biagio, and began his painting career between Lucca and Pisa, where he left several important works as a young artist. In 1405, he returned to his hometown of Siena and devoted himself to important public commissions, such as works for the cathedral and the Palazzo Pubblico. The diversity of his activities made Martino a rather atypical painter in the Sienese tradition. His energetic, monumental style shows clear Florentine echoes and blends with influences from Spinello Aretino (c. 1346-1410), Antonio da Firenze (Antonio Veneziano, active 1369-1388), Niccolò di Pietro Gerini (active 1368-1415) and Taddeo di Bartolo (1362-1422). Characteristic of this original fusion style is the depiction of Saint Albert, with his pronounced chin, as well as the powerful and severe Romualdo. Both figures compare well with many others depicted by Martino di Bartolomeo, such as those on the coffered altars no. 120 and no. 160 in the Pinacoteca Nazionale in Siena (https://catalogo.fondazionezeri.unibo.it/entry/work/8162/ ) here we can easily compare the Saint Lawrence in the Pinacoteca with our Saint Romuald, and Saint Augustine with our Saint Albert. See the comparison image for details. Furthermore, those in the fresco of the Trinity and Saints in the church of Santa Maria della Scala, also in Siena, and finally those in the Church of St. Augustine in Bagnoregio (https://catalogo.fondazionezeri.unibo.it/entry/work/8108/ ) The two images of saints presented here were certainly created during the painter's artistic maturity, i.e. in his second and final period in Siena, when Martino's style became essentially recognisable, making it very difficult to date them precisely. The architectural structures framing the two saints are almost identical to those in a fresco painted in 1407 by Taddeo di Bartolo in the chapel of the Palazzo Pubblico in Siena (https://museocivico.comune.siena.it/opere/cesare-e-pompeo ). In general, the two paintings under consideration show similarities with masterpieces by Martino Di Bartolomeo created in the first two decades of the 15th century, such as the Madonna dell'Umiltà (Fogg Art Museum, Cambridge, MA) or the Storie di Santo Stefano (Städel Museum, Frankfurt am Main): both characterised by a marked plasticity and therefore clearly attributable to this painter and his artistic exchange with Jacopo della Quercia (c. 1372 - 1438), Domenico di Niccolò Cori (c. 1362-1450) and Francesco di Valdambrino (14th/15th century), author of polychrome wooden figures. ADDITIONAL INFORMATION: The works are sold complete with two imposing gilded frames and are 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 view the painting in our gallery in Riva del Garda, where we would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Portrait Of Dante Alighieri, Cristofano Di Papi Dell'altissimo (1525-1605)

Florentine school of the sixteenth century Cristofano di Papi dell'Altissimo (Florence 1525 – 1605) workshop Portrait of Dante Alighieri (Florence 1265 - Ravenna 1321) Oil on panel, 58 x 45 cm. In frame 84 x 70 cm. Full details of the painting (click HERE) We present this valuable painting, one of the rare portraits of Dante Alighieri (Florence 1265 – Ravenna 1321) of excellent quality, to be included in the series of posthumous portraits that the major Renaissance artists dedicated to the Supreme Poet, attesting to his acclaimed and immortal fame. Among the earliest representations of Dante, we can mention Giotto's fresco of Paradise from 1332-1337 (Cappella del Podestà Palazzo Bargello, Florence), the portrait of Dante with the Divine Comedy in Domenico di Michelino's fresco from 1465 (Santa Maria del Fiore, Florence), and Sandro Botticelli's portrait of the poet in profile from around 1495 (private collection), now one of the most famous and widespread depictions of the poet. Returning to our work, we can fully include it in the traditional iconography of his profile, which has contributed to his recognisability to this day: the poet is immortalised with his characteristic red cloak and cap, usually worn by Florentine diplomats, his elongated, angular face with a hooked nose and a laurel wreath, the so-called “poet's crown”. From a stylistic point of view, in particular, we are inclined to attribute its creation to an artist active in Florence around 1550, trained or active in the prolific workshop of Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then Pontormo, from whom he inherited his passion for portraiture and stylistic approach. The painter worked for the Medici family and, in particular, created a collection of about 500 portraits of illustrious men for Cosimo I, known as the “Serie gioviana” (Uffizi Gallery, now in the upper part of the Corridoio di levante), which, among others, also included that of our poet. His fame as a portraitist grew to such an extent that his workshop often produced versions of the same subject, with countless variations. In our beautiful work, for example, Dante is depicted in half-length, with his face and gaze turned to the left, his expression serious but intense, and his facial features immediately reminiscent of early Florentine Mannerist portraiture. We know of several replicas/copies, in terms of size and composition, among the comparable versions from the early 16th century are: - Musée Condé, Chantilly, Portrait of Dante, Florentine School, 16th century, attributed to Bachiacca - Uffizi Gallery, Florence, Portrait of Dante, Florentine School, 16th century, previously attributed to Perugino: http://catalogo.fondazionezeri.unibo.it/foto/120000/85200/84831_gw.jpg - Civic Museums of Como, Palazzo Volpi, Portrait of Dante, Florentine School, 16th century: https://catalogo.beniculturali.it/detail/Lombardia/HistoricOrArtisticProperty/1m050-00002_R03 - Van Diemen-Lilienfeld Galleries, New York: http://catalogo.fondazionezeri.unibo.it/scheda/opera/38213/Anonimo%20fiorentino%20sec.%20XVI%2C%20Ri... - Yale University Art Gallery New Haven (Connecticut, United States of America): https://artgallery.yale.edu/collections/objects/348 Although rather rare, we can find some similar works in international auctions: - Dorotheum, Vienna (24 April 2018, lot 14): https://www.dorotheum.com/en/l/5137391/ - Dorotheum, Vienna (20 April 2019, lot 317): https://www.dorotheum.com/de/l/6154239/ - Sotheby's, New York (30 January 2019): https://www.sothebys.com/en/auctions/ecatalogue/2019/master-paintings-evening-n10007/lot.1.html ADDITIONAL INFORMATION: The work sold is completed by a pleasant wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be happy to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Pair Of Bronze Greyhounds, Art Deco France 20th Century

Pair of greyhounds French sculptor Art Deco style - 20th century Bronze, lost wax casting Dimensions (cm): male height 94 cm/length 106 cm/width 106 cm female: height 89 cm/length 96 cm/width 30 cm Full details (click HERE) Pair of sculptures depicting greyhounds, probably of the whippet breed, life-size and beautifully crafted, made of bronze using the lost wax casting technique and dating back to the early 20th century, inspired by the design and subjects typically favoured in the Art Deco period thanks to this style's penchant for animal motifs. Sculptures such as these are often used as highly decorative elements for interiors, gardens or terraces. In this case, the artist has skilfully captured the elegance of the two creatures, a male and a female, which are particularly fascinating for their realistic attention to detail and endowed with a remarkable sense of plasticity through the use of an extraordinarily modern design line. The works, of French manufacture, are inspired by the famous creations of the sculptor Rembrandt Bugatti (Milan 1884 - Paris 1916), a Milanese who moved to Paris and Antwerp, or Pierre-Jules Mênes, both famous sculptors specialising in animal bronzes. ADDITIONAL INFORMATION: The sculptures are in excellent condition and come with a certificate of guarantee and authenticity. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Praying Madonna, Italy Second half of the 17th century

Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato 1609 - Rome 1685) workshop/circle Praying Madonna Second half of the 17th century Oil on canvas (57 x 46, with frame 78 x 65) This splendid Madonna, portrayed in an intimate moment of prayer, stands out for its refined pictorial execution and can be attributed to the pictorial sensibility of Giovan Battista Salvi, known as Sassoferrato, from the Marche region. Analysis of the cretto also suggests a date compatible with the author or perhaps slightly later, who, in the height of the Baroque period, created timeless, almost metaphysical images. A pupil of Domenichino and a refined interpreter of the Renaissance tradition, particularly that of Raphael, Sassoferrato developed a style of extraordinary formal perfection, with precise drawing and refined brushwork designed to create delicate images of the Virgin. His critical and collecting success can be seen in the countless autograph and non-autograph replicas, in which the attributive distinction can be grasped, as in our case, by observing the sustained quality, perceptible in the rendering of the facial features and, finally, the meticulous chiaroscuro effect of the unmistakable porcelain-like rendering of the skin typical of Sassoferrato, with the chromatic contrast of the intense blue mantle, which makes the work even more precious. The artist, supported from the outset by a flourishing workshop, was the main creator of this series of iconographies, which were an immediate success due to the delicacy and humanity expressed by the Virgin, portrayed with her hands on her chest, which, like her face, become the focal point of the painting and imbue it with great spiritual pathos. This is a fine example of a composition that the artist repeated on several occasions, including the works preserved in the Pinacoteca dei Musei Civici in Pesaro and in the Monastery of Santa Chiara in Sassoferrato. Excluding the crude versions, the most noteworthy works have been sold at the most selective auctions with high prices; by way of example, we can consider some sold at Sotheby's: among these, the magnificent Madonna in Prayer, to be cleaned (fig. 1 - Sotheby's, London, 08/07/2010, lot 154) or the same subject but restored (fig. 2 - Sotheby's, London, 04/12/2008, lot 193). Finally, we can mention a work very similar to ours, mirroring the previous ones and therefore with the Virgin portrayed with her face tilted to the left (fig. 3 - Paris, 26/06/2019, lot 70). fig.1

Thetis And Hephaestus, Jacques Blanchard (paris, 1600 – Paris, 1638)

Jacques Blanchard (Paris, 1600 – Paris, 1638) and workshop Thetis in Hephaestus' forge (Hephaestus gives Thetis the weapons he forged for Achilles) Oil on canvas applied to panel 80 x 65 cm. In frame 90 x 76 cm. Critical report by Arabella Cifani This interesting painting depicts a famous mythological episode narrated by Homer in the Iliad (Book XVIII) and portrays Thetis, the most beautiful of the Nereids and mother of the hero Achilles, together with Hephaestus, god of fire and blacksmith of the gods, whom we see here with a hammer in his hand, intent on forging weapons for the woman's son, which will become emblematic of the hero's great power. This is a recurring episode in art and literature: after the death of Patroclus, who wore Achilles' armour, his mother Thetis went to the forge of Hephaestus (also known as Vulcan), located in the heart of Mount Etna, to ask him for new divine armour and all the weapons necessary for her son's revenge against Hector, guilty of having killed her friend. As indicated by Dr Arabella Cifani in her study of the painting, it is a work by the French painter Jacques Blanchard (Paris, 1600 – Paris, 1638), assisted in this specific case by his workshop. Blanchard was one of the most important painters active in Paris in the first half of the 17th century and, as we can see from the painting in question, his works show remarkable technical skill and a predilection for depth and realism, making him a very influential artist in French painting. His style was influenced by Rubens' Baroque style, without excluding a more classicist approach, particularly akin to Poussin's models, with compositions defined by grace, proportion and balance. His stay in Italy, between Rome and Venice, was also decisive for his painting, where he found inspiration in the work of Venetian painters, particularly Titian, Veronese and Tintoretto. Before returning permanently to France, he was in the service of the Duke of Savoy, Carlo Emanuele di Savoia, in Turin, for whom he painted numerous works with mythological subjects, including “The Loves of Venus and Adonis”, which were later transferred to Paris. Despite producing very few religious devotional works, Blanchard is still celebrated as a painter of mythological and allegorical subjects, which made him famous and sought-after even during his lifetime, assisted in his work by a talented workshop. Of the painting under consideration here, the original of which has been lost, there is a splendid engraving by Pierre Daret de Cazeneuve, datable between 1663 and 1678, printed in the workshop of Pierre II Mariette (1634-1716), a print dealer and great French publisher, active in Paris (https://www.boijmans. nl/en/collection/artworks/151540/thetis-at-the-forge-of-vulcan ). The main feature of his works is his tendency to infuse his subjects with an aura of sensuality, reminiscent of the masterpieces of Titian and Veronese, where the pose of Thetis' body seems to echo ancient Greek statues, portrayed in a blue dress that leaves her breasts exposed. This earned him the nickname “the French Titian” among his contemporaries and placed him in a crucial position in the development of French art between the eroticism of the court art of Fontainebleau in the 16th century and that of Boucher in the 18th century.

Portrait Of The Philosopher Democritus, Giovanni Battista Beinaschi

Giovanni Battista Beinaschi (Fossano, c. 1634 – Naples, 1688) Portrait of the philosopher Democritus (showing a book with a white cover) Oil on canvas (82 x 64 cm - Framed 95 x 75 cm.) Full details of the painting (click HERE) The painting shows an intense image of the Greek philosopher Democritus, portrayed as a mature man holding a book in his hands, an emblem of a life dedicated to study, and is presented here as a pendant to the portrait of the philosopher Heraclitus (see photo in the details). This type of subject, dedicated to the great philosophers or scholars of antiquity, was very dear to the figurative tradition and collecting tastes of the 17th century: in our case, we have one of the two key figures of pre-Socratic philosophical thought, often juxtaposed because of their opposing and complementary views of the human condition. If we look in detail at the iconography of the two philosophers, Heraclitus and Democritus, the portrait presented here follows the tradition that generally contrasts the sombre and contemplative character of the former with the more open and detached character of the latter. This opposite attitude towards reality and the human condition made them symbolic figures in thought and a favourite subject of various artists, especially in the Baroque period, due to their strong symbolic value and implications for the interpretation of the human condition (1). In the painting shown here, Democritus, “the atomist philosopher”, gazes fixedly and detachedly at the observer, representing his view of life. According to his philosophy, in fact, all reality is just a meaningless dance of atoms, and it is therefore useless to strive to find meaning in existence. There is no point in agonising over the absurdity of the world, but rather in distancing oneself from passions and facing them with lightness. The observer is captivated by the enigmatic nature of his expression, and the book with the white cover that the philosopher holds in his hand becomes its symbol. As for the style of the work, the scholar is depicted with a profound scenographic approach in a vigorous Baroque style, with marked facial features. The backlighting effects and a magical chiaroscuro atmosphere make the character dynamic, oriented towards a light source that touches his face. By studying the characteristics and related details, we can attribute the work to the late Baroque painter Giovan Battista Beinaschi (1634 - 1688), whose prolific activity was concentrated between Rome, where he trained, and Naples. Nevertheless, he moved frequently throughout his career between Turin, Parma, perhaps Bologna and Genoa, assimilating varied artistic influences from each place. Although he initially showed a propensity for Roman classicism, this influence was soon supplanted by an increasingly pronounced approach to the Baroque cultural front. (1) We can find many examples of this interesting iconography in art, for example in Hendrick ter Brugghen's “Heraclitus and Democritus” (1619, owned by Christie's, London, https://www.christies.com/en/lot/lot-6298681? ldp_breadcrumb=back ), or in the same subject by Gregorio Preti (https://mattia-preti.it/279-eraclito-e-democrito/ ). ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Portrait Of The Philosopher Heraclitus, Giovanni Battista Beinaschi

Giovanni Battista Beinaschi (Fossano c. 1634 - Naples 1688) Portrait of the philosopher Heraclitus (absorbed in reading) Oil on canvas (82 x 64 cm - Framed 95 x 75 cm.) Full details of the painting (click HERE) The painting shows an intense image of the Greek philosopher Heraclitus, portrayed as a mature man holding a book in his hands, an emblem of a life dedicated to study, and is presented here as a pendant to the portrait of the philosopher Democritus (see photo in the details). This type of subject, dedicated to the great philosophers or scholars of antiquity, was very dear to the figurative tradition and collecting tastes of the 17th century: in our case, we have one of the two key figures of pre-Socratic philosophical thought, often juxtaposed because of their opposing and complementary views of the human condition. If we look in detail at the iconography of the two philosophers, Heraclitus and Democritus, the portrait presented here follows the tradition that generally contrasts the sombre and contemplative character of the former with the more open and detached character of the latter. This opposite attitude towards reality and the human condition made them symbolic figures in thought and a favourite subject of various artists, especially in the Baroque period, due to their strong symbolic value and implications for the interpretation of the human condition (1). In the painting shown here, Democritus, “the atomist philosopher”, gazes fixedly and detachedly at the observer, representing his view of life. According to his philosophy, in fact, all reality is just a meaningless dance of atoms and it is therefore useless to strive to find meaning in existence. There is no point in agonising over the absurdity of the world, but rather to distance oneself from passions and face them with lightness. The observer is captivated by the enigmatic nature of his expression, and the white-covered book that the philosopher holds in his hand becomes a symbol of this. In the proposed painting, Heraclitus “the obscure philosopher” gazes intently at the open book, aware of the tragic fragility that overwhelms all things, with his hand gesturing to turn the pages. As for the style of the work, the scholar is depicted with a profound scenographic approach in a vigorous Baroque style, with marked facial features. The backlighting effects and a magical chiaroscuro atmosphere make the character dynamic, oriented towards a light source that touches his face. By studying the characteristics and related details, we can attribute the work to the late Baroque painter Giovan Battista Beinaschi (1634 - 1688), whose prolific activity was concentrated between Rome, where he trained, and Naples. Nevertheless, he moved frequently throughout his career between Turin, Parma, perhaps Bologna and Genoa, assimilating varied artistic influences from each place. Although he initially showed a propensity for Roman classicism, this influence was soon supplanted by an increasingly pronounced approach to the Baroque cultural front. (1) We can find many examples of this interesting iconography in art, for example in Hendrick ter Brugghen's “Heraclitus and Democritus” (1619, owned by Christie's, London, https://www.christies.com/en/lot/lot-6298681? ldp_breadcrumb=back ), or in the same subject by Gregorio Preti (https://mattia-preti.it/279-eraclito-e-democrito/ ). ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/