Ecce Homo, Workshop Of Valerio Castello (genoa, 1624 - Genoa, 1659) - Galleria Castelbarco - Recent Added Items

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Ecce Homo, Workshop Of Valerio Castello (genoa, 1624 - Genoa, 1659)

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Ecce Homo, Workshop Of Valerio Castello (genoa, 1624 - Genoa, 1659)

12000 €


17th-century Genoese School Workshop of Valerio Castello (Genoa, 1624 - Genoa, 1659) Ecce homo Oil on canvas 117 x 99 cm. In frame 138 x 118 cm. FULL DETAILS (click HERE) The Ecce Homo, the subject of our intense canvas, is the Gospel episode during which Jesus, awaiting his condemnation and after his scourging, is presented to the people by Pilate, then the Roman governor of Judea, whom we see portrayed here at his side wearing a turban in the Middle Eastern style. To his right a henchman, with an amused look, holds the rope that binds Christ's hands. The canvas immortalises the moment when the Saviour accepts his final destiny: in his face, not only humiliation but also a moment of deep introspection and emotion. He is then portrayed with a crown of thorns placed over his long hair and stripped of his clothes, his hands tied and crossed, alluding to his immediate crucifixion on Golgotha. ‘’Ecce homo‘’, which literally means ‘Here is the Man’, was the phrase uttered by Pilate himself to designate the scourged Jesus and to ingratiate himself with the crowd, aware that he had condemned an innocent man. This type of portrayal of Christ would be very widespread in the 16th century, giving rise to particularly intense creations, capable of moving even those who do not prefer subjects with such a strong emotional impact. Whipped and mocked while awaiting his martyrdom, it is striking that his face appears sad, resigned, but not suffering, evoking the compassion he granted his executioners. The composition, with its intense devotional character, fits easily into the mid-seventeenth-century Genoese milieu and specifically into the figurative repertoire of Valerio Castello (Genoa, 1624 - 1659); an interpreter of a new compositional conception, breaking with the Genoese pictorial tradition, through a recovery of the masters of sixteenth-century Mannerism and a careful observation of the works of the Flemish, first and foremost Rubens, and the Venetians present in abundance in Genoese collections. Within the sphere of Genoese figurative culture, no-one like Castello was able to interpret, through the liveliness of the compositional rhythm and palette, the new feeling of an era that favoured a strong theatricality, which is well suited to the staging of our subject. ADDITIONAL INFORMATION: The work sold is completed by a nice antique but not coeval frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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Galleria Castelbarco

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Still Life With Flowers, 17th-century Flemish School

17th-century Flemish school Still life with flowers Oil on panel 33 x 25 cm In frame 50 x 42 cm Full details (click HERE) The painting depicts a wonderful still life of flowers, where numerous colourful buds are gathered in a large vase placed on a shelf: bluebells, tulips, hyacinths, anemones and other species make up the bouquet, skilfully placed against a dark background to highlight the sinuous shapes of the stems, leaves and, above all, the bright, dazzling colours of the petals. The work highlights the skill of a talented painter who trained in the prestigious Flemish tradition of the 17th century, although at the same time, the decisive execution and sensitivity to light reveal a typically Mediterranean verve, which is evident in the soft and balanced harmonies of the bright colours of the buds. The artist displays all his Baroque exuberance and Nordic talent for the precise description of various types of flowers, influenced, however, by Roman still life painting of the second half of the 17th century. Nor should we forget the exceptional pictorial tradition of the Brueghel family dynasty, which our painter expresses with absolute mastery and modernity, particularly in his innovative conception of scene and light, which brilliantly outlines the forms and embellishes the tones. ADDITIONAL INFORMATION: Good condition, complete with ebonised guilloché frame (19th century). 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 would be delighted to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, an export permit will be required, which takes approximately 15-20 days to obtain. Our gallery will take care of the entire process. All costs associated with this operation are included. 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/

Antonio Tibaldi (rome, C. 1633 - 1684), Still Life With Precious Objects

Antonio Tibaldi (Rome, c. 1633 - c. 1684) Still Life with Precious Objects, Brocade Fabrics and a Plate of Sweets c. 1650/1660 Oil on canvas, 96 x 130 cm In frame 115 x 150 cm. If you would like to learn more about the artist, we recommend consulting the essay: “Still Life Painters in Rome. Italian Artists, 1630-1750” - Gianluca and Ulisse Bocchi - 2005 Full details of the work (click HERE) This prestigious still life, with its incredible visual impact, depicts an opulent display of precious objects, including vases, jugs and plates in precious metals, a stringed musical instrument, specifically a guitar, a cushion and an elegant fabric embroidered with gold thread, while on the right, a precious damask curtain opens the scene like a theatre curtain. The large size of the canvas is typical of the Roman format known as “tela da imperatore” (emperor's canvas), a Baroque term used to describe canvases measuring approximately 130 x 90 cm. The painting is the work of the Roman painter Antonio Tibaldi, whose compositions were highly successful in Baroque Rome thanks to his particular attention to the rendering of the precious details of the objects depicted, which make each of his works particularly valuable and elegant. He worked at the same time as Carlo Manieri, with whom he shared some of his exhibition techniques, but while the latter lingered on the description of elaborate architectural structures, Tibaldi showed a more pronounced tendency to saturate spaces and backgrounds closed by heavy drapery, in accordance with the fashion imposed by Francesco Maltese. By way of comparison, in support of our attribution, it is worth mentioning the two “Still lifes with brocades and goldsmith's objects” preserved at the Musée Fresch in Ajaccio, France (fig. 1 - https://www.musee-fesch.com/tag/antonio-tibaldi ), commissioned around 1650 in Rome by Cardinal Fresch, which have more than one competitive element that we see repeated in the canvas proposed here. The pair of “Still lifes with casket, sweets and precious objects”, correctly attributed to Tibaldi and sold on the Milanese antiques market in 1987 (fig. 2 - Finarte, Milan, 6-7 May 1987, lots 246 and 247, as F. Fieravino) are also almost identical to ours. In one of the two canvases, on the important chiselled casket, there is a heraldic emblem with three bees, testifying to the commission by the Barberini family. This testifies to the fact that Antonio Tibaldi enjoyed considerable esteem among a Roman patriciate particularly inclined towards these pompous depictions, working for the most powerful Roman families: among his most influential patrons, in addition to the Barberini (Pope Urban VIII), we know that there were also the Chigi (Pope Alexander VII) and the Colonna families. Our painting also features a coat of arms, although it is difficult to interpret (near the base of the embossed golden metal vase), with a rampant lion in an oval shield surmounted by a crown. Tibaldi's artistic production is characterised by a series of recurring motifs, which we also find in our work: among these is the tendency to fill the pictorial space as much as possible by placing carpets or damask fabrics on stone tables decorated with Renaissance motifs. But also the typical sugared sweets, here arranged on a silver plate: these are biscuits and candied fruit, which Tibaldi rendered in a highly personal and distinctive way, giving them a “spongy” texture. We can find the same sweets, as well as in the works mentioned above, in “Still Life with Carpet, Plate of Candied Citrus Fruit and Sweets...” sold at Christie's in London (fig. 3 - 8-9 December 1994, no. 379) https://catalogo.fondazionezeri.unibo.it/scheda/opera/88018/ . ADDITIONAL INFORMATION: The work sold is complete with a pleasant 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 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/

Saint Michael The Archangel, Guido Reni (1575 - 1642) Circle Of

Guido Reni (1575 - 1642) circle of Saint Michael the Archangel Oil on canvas Dimensions: 98 x 73 cm. In antique frame 116 x 90 cm. Full details of the work (click HERE) We are pleased to present an extremely beautiful work depicting the famous Saint Michael the Archangel painted by Guido Reni in 1635 for the Church of the Capuchins, in the heart of Via Veneto in Rome (see photo for details). The church was built thanks to a donation by Cardinal Antonio Barberini (1569-1646), brother of Urban VIII, in favour of the Capuchin friars. It was the cardinal himself who commissioned the altarpiece from Guido Reni, who, at the height of his maturity and artistic fame, had by then settled in Bologna, where he painted the canvas and sent it to Rome. After a long and intense training in Bologna, in 1602, the painter, who was already working on his own, wanted to enrich his artistic experience by moving to Rome. He soon became famous in Roman circles as an interpreter of the tastes of the most culturally influential circles, winning the protection of great figures such as Popes Paul V, Urban VIII and Scipione Borghese. The archangel Michael, engaged in the fight against evil, is depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels an angry devil back to hell, trampling on his head with his foot. Soft, colourful drapery envelops the angel's body in an intense classicism within a balanced composition that highlights the heavenly beauty of the angelic face. The painting was greatly appreciated and admired by his contemporaries and was an immediate success, thanks in part to the controversy it aroused. Reni, having learned that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had defamed him by denigrating some of his works, took revenge by portraying the Devil with the cardinal's face. Reni's cunning was to exploit the historical rivalry between two of the most influential families in 17th-century Rome, the Barberini and the Pamphili, for his own personal revenge, while at the same time giving his work sudden fame. Considering the period in which it was painted and its good quality, the canvas on offer is certainly the work of an artist active in Rome around the mid-17th century who was in close contact with Reni and knew his works well. The work is in good condition with some restoration to the painted surface. The antique frame is in good condition with some defects. ADDITIONAL INFORMATION: The work sold comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the works purchased, 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 further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

The Holy Family, Tuscan School 17th-18th Century

The Holy Family Tuscan school, 17th-18th century Oil on panel 30 x 24 cm In frame 41 x 33 cm Full details of the work (click HERE) This pleasant devotional painting, commonly referred to as “The Holy Family”, depicts the Virgin Mary, with a serene expression and a hint of shyness, tenderly holding the Child in her arms, who is resting on a cushion. The child exudes childlike liveliness, with his head turned away and a lively smile on his face, while Joseph, in the shadows on the right, watches protectively over the scene, which is highlighted by the dark background, emphasising the vividness of the ethereal flesh tones and the soft drapery of the garments. The character of the painting, as well as the quality of the brushwork and the balance of the composition, are elements that lead us to identify its stylistic origins in the refined figurative culture of Tuscany, particularly Florence, with echoes of the Renaissance. The softness of the flesh tones, the idealisation of the refined figures, and even the physical features of the three individual figures bring to mind the Marian works of Del Sarto, Rosso Fiorentino, Ridolfo del Ghirlandaio and, above all, Domenico Puligo. We are therefore faced with a painter who, although active between the 17th and 18th centuries, was strongly inspired by this erudite and refined culture and who must necessarily have studied the creations of these masters, before proposing a similar but unique version, rather than a mere copy of already famous works. 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. If the work is purchased by non-Italian customers, an export permit will be required, which takes approximately 10-20 days to obtain. Our gallery will take care of the entire process. All costs associated with this operation are included. 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/

Noli Me Tangere, Jan Brueghel The Younger (antwerp 1601–1678) Workshop Of

Jan Brueghel the Younger (Antwerp 1601–1678) workshop of Noli me tangere Oil on canvas 97 x 128 cm - In frame 114 x 143 cm Full details of the work (click HERE) This is a fascinating work, both for its subject, featuring Christ and Mary Magdalene, and for its execution, displaying all the distinctive characteristics of the Flemish painter Jan Brueghel the Younger (Antwerp 1601–1678), son of one of the most important dynasties of Flemish painters, being the heir of Jan Brueghel the Elder and nephew of Pieter Brueghel the Elder, from whom he inherited the family workshop. It depicts the biblical episode known as “Noli me tangere” and represents the appearance of the risen Jesus to Mary Magdalene, who mistakes him for “the gardener”. For this reason, Christ is often depicted holding a spade, precisely to represent Mary Magdalene's mistake in not recognising him immediately in the biblical account. Once his identity is revealed, Christ utters the famous phrase Noli me tangere (Latin for “do not hold me”), urging Mary Magdalene to let him go and to tell the disciples of his resurrection. This is a theme dear to 17th-century iconography and was taken up several times by Jan Brueghel the Younger or his workshop, with variations and often in collaboration with other painters who worked on the figures, from the early versions with Hendrick van Balen and Jan Van Kesse to the partnership with artists from the workshop of Pierre Paul Rubens. We can mention, by way of comparison, the “Noli me tangere” by Jan Brueghel the Younger, in the Musée des Beaux-Arts in Nancy (fig.1), the “Noli me tangere” in the Kunsthalle in Bremen (fig. 2) by Jan Bruegel the Younger with Peter Paul Rubens, or the painting with the same subject, attributed to Jan Brueghel the Younger and Victor Wolfvoet, which passed through Schloss Ahlden (fig. 3). A composition similar to ours in many details - from the tree on the right, with white hydrangeas and pink roses, to the stone fountain, the presence of the orange tree and the two ducks - is “Allegory of Love” by Jan Jan Brueghel the Younger, on display at the Venaria Reale in Turin (fig. 4). The scene is orchestrated with the typical opulence that has always distinguished the works of the flourishing Brueghel workshop, with the two figures framed by a vast landscape where colourful flowers bloom and trees are laden with ripe fruit, in a clear allusion to the earthly paradise. Every detail is rendered with meticulous attention to detail: the birds, the flowering plants, various garden produce scattered on the ground: each element is placed in a harmonious composition and rendered with meticulousness and delicacy, giving us a work that is both rich and extremely refined. The quality of the rich palette, with its vigorous accents of colour, deserves praise, enhancing the painting and creating a luminous atmosphere, immersing the scene in a soft light with fairy-tale accents. The landscape in the background is enchanting, with a city with fortified walls and a circular building alluding to the Temple of Jerusalem. In the centre, a hill dotted with trees shelters the open tomb of Christ, carved into the rock, with the three Marys who have just arrived at the tomb to find it empty. Finally, on the left, Mount Golgotha with four crosses, one more than usual, according to a typical feature of some works from the Brueghel workshop (cf. Crucifixion, workshop of Pieter Brueghel the Younger, Church of Santa Maria Maddalena, La Spezia): according to some scholars, the fourth cross represents the submission of the Flemish people to Spanish rule during the siege of Ghent, in the context of the Eighty Years' War (1568-1648). ADDITIONAL INFORMATION: The work is sold complete with a nice frame and comes with 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 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 further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Giacomo Van Lint (rome 1723 - 1790), View Of The Roman Forum

Giovanni Giacomo Van Lint (Rome 1723 - 1790) View of the Roman Forum Oil on canvas 53.5 x 68 cm in frame 60 x 75 cm Attribution certificate by Prof. Giancarlo Sestieri (Rome 2010) Full details of the work (click HERE) This delightful ‘View of the Roman Forum’ (oil on canvas, 53.5 x 68 cm), with its imaginative inventiveness, freely inspired by the ruins of the Palatine Hill, with the insertion on the right of an open space with rural buildings, is an interesting example of Roman landscape painting of the mid-18th century. The work can be attributed to Giovanni Giacomo Van Lint (Rome 1723 - 1790) on the basis not only of the aforementioned exhibition style, but also of an analysis of the figurative imprint with which the “macchiette” (small figures) that animate this scene are executed: from the couple walking on the left, to the children playing on a makeshift swing next to two farm carts, to the woman with a basket on her head, and the tiny figures moving in the background. The son of Hendrik Frans van Lint (1684-1763), Giacomo achieved a solid reputation as a landscape painter, depicting the city of Rome with topographical accuracy following his father's example, while expressing his own stylistic personality, devoting himself above all to “vedute”, both realistic and imaginative, as in the present painting. The painter's art is characterised by a luminous colour palette, with the light of the sun gradually fading, instilling a delicate sense of chromatic tranquillity. These aspects were much appreciated by foreign travellers on the Grand Tour, which allows us to classify his work as a true genre, certainly vedutistic, but intended for those who wanted a “souvenir” - what we would call a souvenir today - of the Eternal City. The painter worked mainly for audiences beyond the Alps, and his works were preserved in private European collections, particularly in England. Reference bibliography: A. Busiri Vici, “Peter, Hendrik and Giacomo Van Lint. Three painters from Antwerp in the 17th and 18th centuries working in Rome”, Bozzi publisher, Rome 1987. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. 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/

Aristotle And Phyllis, Bartholomäus Spranger (antwerp, 1546 – Prague, 1611)

Bartholomäus Spranger (Antwerp, 1546 – Prague, 1611) workshop Aristotle and Phyllis Oil on canvas 64 x 54 cm In frame 79 x 72 cm Full details of the work (click HERE) The curious subject of this painting, quite common between the Middle Ages and the Renaissance, is inspired by the medieval legend that tells how the philosopher Aristotle, known for his wisdom, was seduced and subjugated by the young and beautiful Phyllis. Despite his professed discipline, the great scholar fell so deeply in love with the girl that he became her laughing stock, immortalised here on his knees while she rides him, thus demonstrating the power of seduction over reason. The story was interpreted as a warning about female power and the vulnerability of men, without distinction, even the wisest: it is therefore a sort of moralising fable intended to warn against the pleasures of the flesh. The iconography is taken from an invention by Bartholomäus Spranger (Antwerp, 1546 - Prague, 1611), a leading exponent of European Mannerism and active at the Habsburg court in Prague, in the service of Emperor Rudolf II. The original painting, which has been lost, has been handed down thanks to Sadler's engraving, which we present in the attached images. From a stylistic point of view and considering the period, we can easily consider our work as an example from his workshop or, more likely, from an artist from his close circle, and therefore date it to the early decades of the 17th century. Given Spranger's role as the emperor's trusted painter, it is thought that this amusing illustration was created for the personal pleasure of Emperor Rudolf, a great patron and art collector but also a lover of women, alluding to his weakness and thus ironically warning him. If even the learned Aristotle, whose erudition is evident from the books piled on the shelf, was powerless in the face of female cunning, anyone, including the emperor, would have been justified in giving in to the temptations of the flesh. ADDITIONAL INFORMATION: The work is sold complete with a pleasant antique frame and comes with 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/

Madonna With Child And Saint Joseph, Benvenuto Tisi, Il Garofalo Workshop

Benvenuto Tisi, il Garofalo (Garofalo, Rovigo 1476 - Ferrara 1559) workshop/follower Madonna with Child and Saint Joseph Oil on canvas 125 x 90 cm - In frame 143 x 109 cm. Full details of the painting (click HERE) In a Renaissance-style architectural setting, we see the Virgin with Child and Saint Joseph, a subject known in art as the “Holy Family”, a recurring theme in Christian art, symbolising maternal love, divine protection and the importance of the family as a model of life. Works with this subject, usually commissioned for churches or private collections, were therefore the subject of countless depictions over the centuries, such as the one we present here, executed in oil on canvas and dating from between the 16th and 17th centuries, which reproduces the fresco dated 1525 by Benvenuto Tisi, known as Garofalo (c. 1476 - 1559) for the Certosa di Ferrara, now preserved in the Museum of Montecassino. A painter of Venetian origin and belonging to the Ferrara school, Garofalo was an Italian Renaissance painter known for his elegant and colourful painting, influenced by Raphael and the Roman and Venetian schools. He painted numerous versions of the Holy Family, often accompanied by his workshop, similar to this one or with variations, some of which are now preserved in important collections: among these we can mention the one in the Borghese Gallery in Rome, the Vatican Pinacoteca, or the Doria Pamphilj Gallery, also in Rome. The Virgin, portrayed in a refined, regal pose, has a delicate, youthful face that gazes intently at the viewer, with a rosy complexion framed by long blonde hair, and highlighted by the blue of her cloak and the red of her robe, while behind her is Saint Joseph, also with youthful features, wearing a red robe and a dark cloak, standing apart and resting while watching over the mother and child. Our canvas fully embodies the principle of classicism to which Garofalo was very devoted, both in the plasticity of the composition and in the architecture in which the human figures are placed. There is, in fact, much of the late 15th-century school in this sacred narrative, which denotes the painter's great admiration for the great painters of the 15th and 16th centuries, whose brilliant colours and figures he reproduces in his work: the central figure of the Madonna has a Raphaelesque face, in a Michelangelesque pose, pyramidal in shape, filling the centre of the scene. Finally, the view opening up on the left is beautiful, framed by the pink hues of the sky, with a village perched on a wooded hill, which we often find in his works. Observing the pictorial composition, which is similar to the style of Giorgio Vasari, a friend of the Padanian painter, we can easily attribute the work to a member of Garofalo's workshop or to a follower active shortly afterwards. Given the high quality of the works that have come down to us, especially those with religious themes, it is easy to imagine that a large number of pupils gravitated towards his workshop. The work is in good condition with some restoration and repainting of the pictorial layer. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded frame 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 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/

Bacchanale, Giulio Carpioni (venice, 1613 - Vicenza, 1678)

Giulio Carpioni (Venice, 1613 - Vicenza, 1678), Attributable to Bacchanale Oil on canvas 98 x 132 cm. - In frame 120 x 154 cm. Complete details of the work (click HERE) This high-quality, beautifully preserved painting is a refined example of the work of Giulio Carpioni (Venice, 1613 - Vicenza, 1678), one of the most talented Venetian painters of the 17th century. It depicts a typical “Bacchanal”, a favourite subject that he returned to many times. It depicts a festival in honour of Bacchus, the Roman god of wine (or Dionysus in Greek mythology), characterised by naked or semi-naked mythological figures, such as satyrs, nymphs, maenads and cherubs, who devote themselves to idleness and the consumption of wine in a natural setting, indulging in unbridled pleasures, libations, dance, music and eroticism. Trained by Padovanino and influenced by the classicism of the 16th-century Venetian tradition, Carpioni drew great inspiration from the early works of Titian, especially his mythological compositions and, in particular, his famous Bacchanals. It was during his trip to Rome that he had the opportunity to see and study the “Bacchanal of the Andrius”, now in the Prado Museum in Madrid, dating from between 1523 and 1526. He was fascinated by the dynamic movement, the sensuality of the bodies and the interplay of light and shadow in this work. He therefore reworked many of the characters from Titian's painting, such as the sensual nude nymph reclining in the lower left corner. Moving to the right, we see the amusing “puer mingens” (a figure in a work of art depicted as a prepubescent boy urinating) squirting urine at a nymph who turns away, annoyed by this mischievous gesture. In Rome, the artist was also influenced by the realism of the Bamboccianti, as well as the classicist demands of Poussin, who devoted himself with great success to the same theme of the Bacchanalia. The painting presented here can be compared in particular with the Bacchanal of the Accademia Carrara in Bergamo (https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/108771/), similar in size, in which the figure of the fat, drunken Silenus supported by young assistants is reproduced almost identically in the counterpart (https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00068/), and again with the Bacchanal in the Pinacoteca del Castello Sforzesco (https://www.lombardiabeniculturali.it/opere-arte/schede/B0020-00078/?view=autori&offset=1&hi...), as well as the painting in the Civic Museums of Vicenza through the bequest of Carlo Vicentini Dal Giglio in 1834. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the 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/

Tiziano Vecellio (1490 - 1576) Workshop, Putti Fighting

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) Workshop Putti fighting on the Ponte dei Pugni in Venice Venetian school, late 16th century Oil on canvas 105 x 144 cm - In frame 128 x 167 cm Provenance: Lepke Kunst-Auction-Haus, Berlin, auction of 1 June 1926, lot 150, as Tiziano Vecellio, attributed to Wilhelm von Bode (1845-1929) FULL DETAILS OF THE WORK (CLICK HERE) Of the more than four hundred bridges that dot the countless canals of Venice, there is one in particular that is linked to one of the city's most unique historical events: the Ponte dei Pugni, located in the Dorsoduro district near Campo San Barnaba, which owes its name to an ancient tradition, now abandoned, that provided the theme for our interesting painting. It was once a tiny battlefield suspended above the canal, where a real “War of Fists” took place, unusually depicted here with children fighting animatedly. Always considered one of Venice's most heartfelt traditions, dating back to the 15th century but then banned in the 18th century, it is still commemorated today during the Venice Carnival: it was nothing more than a brawl between the inhabitants of two opposing factions, the Castellani and the Nicolotti, who clashed on the upper part of the bridge, which at the time had no railings, with the aim of throwing their opponents into the water. The painting, which belongs to the Venetian school of the 16th century, is traditionally attributed to Titian (Pieve di Cadore 1490 - Venice 1576), made in 1926 by art historians Wilhelm von Bode (1845-1929), founder of the Kaiser Friedrich Museum in Berlin in 1904, Max Jakob Friedländer (1867-1958) and Hermann Voss (1884-1969). Below is the link to the work published in the RKD catalogue: https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimageslite%2F1580566 Nevertheless, for reasons of caution, we prefer to attribute the painting to his workshop, leaving open the possibility that the master may have taken part in the curious composition. Many of Titian's works feature cherubs, which are not simply decorative elements but have an important symbolic role: they often represent youth, innocence and light, but can also have connections with deeper themes such as love, life and death. The composition of our painting closely follows one of the friezes, entitled “The Fight of the Children on the Bridge”, which Titian created for his palace in Venice, located in the Biri district of the Cannaregio neighbourhood. Two similar works, in the form of friezes, are owned by Count Lanskoronski in Vienna and Bruckmann in Munich. Below is a reproduction of a contemporary engraving by a Venetian monogramist. The image suggests a sense of vitality that captures the viewer's soul, and for this reason it must be interpreted allegorically: these little children intent on having fun are therefore a hymn to life and an invitation to abandon oneself to the impulses and sensations it offers us. By way of comparison, we can mention the large altarpiece of the “Madonna Assunta” (Church of S. Maria Gloriosa dei Frari in Venice), where many of the poses of the cherubs depicted are mirror images of those in our painting (see photos of details). ADDITIONAL INFORMATION: The work is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We 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 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/

The Nymph Daphne With Cupid, Roman School 17th/18th Century

Roman school of the 17th/18th century The nymph Daphne with Cupid Oil on canvas 49 x 57 cm Framed 69 x 75 cm Full details of the work (click HERE) This extremely pleasing and decorative painting depicts a nymph accompanied by the young Cupid, portrayed outdoors near a waterfall, and belongs to the repertoire of late 17th/18th century Roman painting. The composition of the scene still follows Baroque dictates, with the stylistic and figurative characteristics of the painting evoking echoes of 17th-century Roman painting; the painting is immediately reminiscent of Pietro da Cortona, although the artist's style bears elements of classicist influence. The subject could well have been inspired by one of the most famous and frequently depicted stories in art, that of Apollo and Daphne, taken from Ovid's Metamorphoses (I, 450-567). Judging by the pose of the nymph, portrayed with her gaze turned away as if fleeing, it recalls the moment when Daphne flees from Apollo after Cupid has struck him with his arrow, making him fall madly in love with her. The setting also suggests this subject, as a waterfall flowing into a river can be seen in the background: when she reaches the riverbank, Daphne prays to the river god Peneus, her father, to turn her into a laurel tree so that Apollo will stop pursuing her. It is therefore likely that this is a painting from a series depicting different moments of the myth, where we see Daphne's escape, while Cupid turns to the viewer to point out the scene with a mocking smile. It could also be a trial painting or sketch for a more complex canvas. ADDITIONAL INFORMATION: The work is sold complete with a pleasant frame and comes with a certificate of guarantee and authenticity, with 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 the gallery in Riva del Garda, by appointment; we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, an export permit will be required, which takes approximately 10-20 days to obtain. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. Please contact us, without obligation, for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

SOLD

King David Meets Abigail, Nicolas Vleughels (paris, 1668 - Rome, 1737)

Nicolas Vleughels (Paris, 1668 - Rome, 1737) attributable King David meets Abigail oil on canvas 79 x 59 cm in frame 79 x 100 cm Full details (click HERE) The painting depicts the meeting between King David and Abigail, as recounted in the biblical text of the First Book of Samuel (I Samuel 25:1-34), and is a work attributable to Nicolas Vleughels (Paris, 1668 - Rome, 1737), a painter of Flemish origin who settled in France, where he studied with Pierre Mignard, and then in Rome, where he held the prestigious position of director of the Accademia di Belle Arti. - Rome, 1737), a painter of Flemish origin who settled in France, where he studied with Pierre Mignard, and then in Rome, where he held the prestigious position of director of the French Academy from 1724 for over a decade, thus becoming a key figure in the artistic exchange between France and Italy in the first third of the 18th century. We know that he returned to this subject on several occasions during his career and, in particular, that he conceived this composition in the early 18th century. One of the versions on canvas is now in the collection of the Hermitage Museum in St. Petersburg, made famous by Jeaurat Edme's engraving (Vermanton 1688 - Paris 1738), which reproduces the painting in reverse (https://catzarts.beauxartsparis.fr/r/b52dbf34-221e-43dc-acf5-ae3c5f65c93d ) In the centre on the left is the figure of King David who, left without food in the desert with his army, asked in vain for help from the rich shepherd Nabal, who contemptuously refused any help, ungrateful for the kindness he had previously received from the king and unleashing his wrath with the imminent promise of revenge. On the right is Abigail, Nabal's beautiful and wise wife, who decided to make amends for the wrongdoing and bring David food and gifts in abundance. When she arrived before the king, she knelt before him in submission, winning his forgiveness and goodwill. David, proud and haughty, shows clemency and is fascinated by the diplomatic skills, beauty and humility of this woman who, only a few days later, will accidentally become a widow and whom he will want to marry. The biblical event is the pretext, as was customary in modern painting, for staging a colourful description of a sumptuous procession, which can be divided into two mirror-image parts: on the left, David with his dignitaries and army, and on the right, Abigail's procession, with maids and servants carrying baskets full of fruit, bread and wineskins, so that the king and his army could be satisfied. The crowded group of figures is set in a charming natural proscenium: above a low horizon, barely hinted at by distant blue mountains, a steep cliff rises on the left with a building that we believe could be the city of Hebron (in Palestine, near Jerusalem), where David and Abigail will go to live after their marriage. ADDITIONAL INFORMATION: The work is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We 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 further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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