Galleria Castelbarco
  • 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
  • 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
  • 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
  • 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
  • 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

4900 €


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/
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Galleria Castelbarco
Address:
Viale Giovanni Prati, 39 ,
38064 Riva del Garda
Country: Italy
Tel.: +39 (0)349 4296 40
E-mail: info@antichitacastelbarco.it
Website: www.antichitacastelbarco.it
Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Isaac de Moucheron (Amsterdam 1667 - 1744) circle Renaissance garden with knightly festival Oil on canvas 70 x 98 cm. In frame 106 x 133 cm. Full details of the work (click HERE) We present this delightful composition, in which a sumptuous Italian garden provides the backdrop for a spectacle involving knights, specifically a carousel, a type of equestrian and theatrical event popular in European courts between the 16th and 18th centuries, in which knights in costume performed feats of skill on special occasions. The composition is dominated by two knights in the foreground who seem to be waiting to perform on their steeds, while behind them others wait their turn, dressed in ceremonial robes, red and gold cloaks and elaborate headgear. The scene depicts a court event, as was common in Italian gardens and historic villas: such events were often staged to celebrate weddings, royal visits or other important occasions, as we can imagine from the presence of the two trumpeters in the foreground announcing the participants to the sound of their instruments, adding a sense of grandeur to the event depicted. In the background stands a light-coloured Renaissance-style stone structure with sculptural figures on top, surrounded by the vegetation of the garden, reminiscent of a monumental fountain or the façade of a palace. A couple, perhaps royalty, are positioned in the centre as if on a throne, flanked by other figures watching the spectacle. The painting captures the festive and ceremonial atmosphere of such court entertainments. The work, probably based on a real place, is certainly inspired by one of the many gardens that adorned the large villas on the hills between Florence and Rome. Our artist must necessarily have taken his cue for the setting from the famous series of prints entitled Fontane di Roma (Fountains of Rome, 1680) by Giovanni Battista Falda (1643-1678), some of which are shown in the photographic details. Thanks to the stylistic characteristics of the work, which are unquestionably in keeping with 17th-century Flemish culture, we are inclined to attribute it to one of the Northern painters who came to the Eternal City to study. In particular, there are many iconographic and stylistic similarities with a specific iconographic trend taken up by the Flemish artist Isaac de Moucheron (Amsterdam 1667 - 1744) during his stay in Rome, and the author could therefore likely be found within his circle. ADDITIONAL INFORMATION: The painting is sold complete with an attractive 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, using 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/
Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Hamon Duplessis (active in Versailles from 1791 to 1799) Signed one lower right, the other lower left “M. h. Duplessis” Pair of paintings Knight near an inn Camp with tent and travellers Oil on panel 27 x 37 cm In frame 55 x 45 cm. Provenance: Christie's, Paris, auction of 14/09/2016, lot 50, estimate €6,000 - €8,000 (see details) This is a pair of landscapes with figures of knights and travellers, executed in oil on panel, signed by the painter Claude Michel Hamon Duplessis, who was mainly active in Paris around the second half of the 18th century and specifically documented in Versailles from 1790 to 1799. One painting depicts a distinguished horseman wearing a bright red cloak on a white horse, stopping near an inn: he points to a building in the distance, perhaps the place he is heading for, as if asking the woman with the child for directions. The second painting shows two tents in a landscape, one of which, with a crown hanging above it, is identified as a typical field inn, which served to entertain and supply knights. In front of it, three men are unloading food from a cart, and next to it there are empty supply baskets, with farmers and their livestock. The brilliant quality of the colour, the accurate and fluid brushwork, the richness of detail and the smoothness of the painted surface of these works, which are in excellent condition, are typical characteristics of Duplessis's best works. specialising in scenes of this kind, often animated by knights, soldiers or travellers stopping for a rest, the author's style, with its Italianate taste, is also influenced by Flemish examples, in a mixture that was very successful in 18th-century Paris. His works are remarkably elegant, and his compositions reflect in particular the influence of Philips Wouwerman (Haarlem, 1619 - 1668), as can be seen from the catalogue of his works; see, for example, those preserved at the Hermitage Museum in St Petersburg (cf. B. Schumacher, Philips Wouwermans (1619-1668), the horse painter of the Golden Age, Doornspijk 2006, no. A 459, vol. 2, fig. 72). Works by the painter can be found in French museums in Besançon (Suburb of a Camp) and Bayeux (On the Banks of a Canal in Flanders). ADDITIONAL INFORMATION: The works are sold complete with two attractive wooden frames and are 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, using 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 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/
Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Marcantonio Franceschini (Bologna 1648 - 1729) Workshop of Sleeping Venus with Cupid Oil on canvas 53 x 68 cm. In frame 71 x 91 cm. Full details of the painting (click HERE) Venus, the Roman goddess of love, is portrayed lying down, completely naked, sleeping languidly with both arms behind her head; standing next to her is her son Cupid, the god of desire, pointing to something off-screen. The seductive image is presented to us in a hilly setting, in perfect harmony with nature, and in a measuredly sensual and dreamy atmosphere: her nudity and pose symbolise ideal beauty; she rests on white and red drapery, symbolic colours that indicate the coexistence of pure platonic love (the white sheet covering her pubic area) and passionate love (the red pillow). It is a work of great charm, both for the subject immortalised and for the pictorial execution, showing us the distinctive characteristics of the Bolognese school and highlighting a quality of composition and design that suggests an 18th-century date of execution. The work captures the Rococo sensibility declining into a careful classicist rigour, also presenting lexical elements drawn from early 17th-century culture typical of Domenichino and Francesco Albani: our painting draws inspiration from a work by the latter, specifically “Adonis led by Venus and the Cupids”, created in 1621 by Albani for the Duke of Mantua (Paris, Musée du Louvre, inv. 12, https://collections.louvre.fr/en/ark:/53355/cl010062424 ). In our case, the author has extrapolated the detail of Venus with Cupid (bottom right in the original composition) Going into detail, we can easily link the canvas, painted in the early 18th century, to the workshop of the master Marcantonio Franceschini (Bologna 1648 - 1729), who often drew on elements from early 17th-century culture, particularly that of Francesco Albani, achieving a highly refined classicist sensibility. The pictorial fabric, the analysis of the forms, the scenic setting, the typology of the faces and some Morellian details find clear points of contact and comparison with the artist's best work, who proved to be one of the finest interpreters of Bolognese art between the 17th and 18th centuries. ADDITIONAL INFORMATION: The painting 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. If the work is purchased by non-British customers, 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. 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/
Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Seventeenth-century Tuscan painter Angel of the Annunciation Oil on canvas 52 x 74.5 cm Framed 94 x 71 cm Full details of the painting (click HERE) The work on offer, characterised by a refined sacredness, depicts the Archangel Gabriel in the act of delivering the supreme announcement to the Virgin Mary, offering her the canonical white lilies, symbol of purity and chastity. It is a splendid subject, executed with stylistic refinement, probably commissioned for private use and therefore particularly pleasing and easy to place. The Angel takes the form of a young man with delicate features, with his finger raised as if to emphasise his revelation, wrapped in a bright red drape and a white robe, with a dark background that emphasises the movements of the figure and the gesture of his hand. The work, characterised by fluid, vaporous brushstrokes and a luminism that is not overly marked, denotes a profane attention to iconography and compositional methods still common in late Mannerist Tuscan painting, an extraordinarily happy artistic period which, especially at the turn of the century, saw an impressive succession of leading artistic personalities. In this case, although it is difficult to attribute the work to a particular name, the stylistic characteristics suggest that it was painted by a master of the Florentine school, active in the 17th century. The composition is characterised by intense colours and a particularly lively chiaroscuro effect, emphasised by the intense red of the angel's clothes and the glow that illuminates the angel from the front. Good condition. Complete with a beautiful antique box frame. In wood painted to imitate marble. ADDITIONAL INFORMATION: The work is sold 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. In the event of purchase of the work by non-Italian customers, 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. 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/
The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

Francesco Albani (1578 - 1660) Copy from The Dance of the Cupids Oil on panel 94 x 118 cm in a fine gilded and carved wooden frame 101 x 123 Full details of the work (click HERE) We see a festive dance of cherubs arranged in a circle around a tree, on which other cherubs play musical instruments, while in the foreground there are other objects, including bows and quivers, laid on the grass. In the background on the left, we see the scene of a woman being kidnapped and dragged onto a chariot: this is precisely the abduction of Proserpina by Pluto who, madly in love, took her with him to the underworld to make her his bride. On the right, among the clouds, Venus with a torch kisses Cupid, while below is the temple of Vesta, which still exists today in Rome, where the sacred fire was once kept. The painting is an interesting antique replica of the masterpiece by Francesco Albani, entitled “Danza degli amorini” (Dance of the Cupids) and dating from around 1660, currently housed in the Pinacoteca di Brera in Milan (see image in the photographic details). Known for his light and decorative representations of mythological and allegorical subjects, Francesco Albani is considered, together with Domenichino and Guido Reni, one of the leading exponents of Bolognese classicism and therefore extremely sought after by the cultured patrons of the time. Thanks to a style characterised by idyllic compositions that appealed to the most intimate tastes of his patrons, works such as these have always enjoyed extraordinary critical and public acclaim, to the extent that they have been replicated many times. The subject depicted was also in great demand in later periods due to its symbolic meaning of the triumph of Love: the painting is in fact an interesting allegory of marital union and must therefore have been commissioned within the Farnese family on the occasion of a wedding or a betrothal. This is referred to by the cherubs who, having laid down the bows with which they make lovers fall in love, play happily because they have accomplished the mission assigned to them by Cupid: Pluto has fallen in love with Proserpina and kidnaps her as a sign of his uncontrollable love. Finally, Venus rewards Cupid with a grateful kiss, while the temple of Vesta, where the hearth is always lit, wishes for the love to last forever. ADDITIONAL INFORMATION: The work 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. It is also possible to view the painting in the gallery in Riva del Garda. We would 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/
Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Barend Cornelis Koekkoek (Middelburg 1803 – Cleves 1862) attributable Wooded landscape with stream oil on canvas 72 x 91 cm - framed 93 x 113 cm https://www.antichitacastelbarco.it/en/product/paesaggio-boscoso-con-ruscello This evocative wooded view with imposing oak trees crossed by a stream and a couple of travellers resting near a small bridge is a work executed with quality and skill in detail, attributable to the Flemish artist Barend Cornelis Koekkoek (1803 – 1862). He achieved international fame as one of the most important landscape painters of his generation, known for his romantic views, caressed by a particular golden light, which earned him the nickname “Prince of Landscape Painting”. The painter carefully studied 17th-century Dutch landscape painters, revealing a careful study and synthesis of his predecessors; in particular, his main source of inspiration was the work of Jacob van Ruisdael (Haarlem 1628 - Amsterdam 1682), so much so that he could be described as his follower. He often reproduced already famous works, considering them akin to his own sensibility, as in our case the landscape entitled “Oaks along a stream” painted around 1670 by Jacob van Ruisdael, at the time part of the collection of King Maximilian I Joseph (now in the Alte Pinakothek in Munich). LINK: https://www.sammlung.pinakothek.de/en/artwork/5RGQ17jGz3 We know that Koekkoek revisited this particular subject several times: one of these versions, signed and slightly smaller, was sold at Clars Auction Gallery in Oakland (auction of 15 September 2019, lot 762, estimate: $12,000 - 15,000, link: https://live.clars.com/lots/view/1-2786AG/painting-barend-cornelis-koekkoek?utm_source=mutualart&.... Koekkoek's works were recognised and appreciated throughout Europe and the artist was awarded gold medals at the Paris Salons, boasting important European royal families among his patrons, including the heir to the Dutch throne, Prince William II, King Frederick William IV of Prussia and Russian Crown Prince Alexander, who amassed a large collection of the artist's works. Magnificent romantic landscapes form the core of his work, and even today, his paintings are highly regarded for their lively composition and nostalgic atmosphere, in which the Dutch golden age seems to persist. Just as he was during his lifetime, Koekkoek is widely considered the most skilled landscape painter of Dutch Romanticism. His landscapes, especially those signed, fetch very high prices. For example: - Christie's New York, 17 January 2023, Wooded Landscape with Travellers near a Stream https://onlineonly.christies.com/s/european-art/barend-cornelis-koekkoek-dutch-1803-1862-36/174071 - Sotheby's New York, 22 May 2025, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2025/master-paintings/wooded-landscape-at-dusk - Sotheby’s New York, 27 January 2022, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2022/the-european-art-sale/a-wooded-landscape-with-grazing-c... - Lempertz Cologne, 14 November 2015, Landscape with trees and cows near a stream https://www.lempertz.com/en/catalogues/lot/1057-1/1643-barend-cornelis-koekkoek.html ADDITIONAL INFORMATION: The painting is sold complete with an attractive 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, using professional and insured carriers. 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/
Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Agostino Carracci (1557-1602) Circle of Andromeda and the Sea Monster Oil on canvas 75 x 59 cm. - In frame 96 x 77 cm. Full details of the work (click HERE) The subject of the painting, derived from Ovid's Metamorphoses, is inspired by the myth of Princess Andromeda, daughter of King Cepheus of Ethiopia and Queen Cassiopeia, who, tied to a rock, is about to be attacked by a sea monster sent by Poseidon at the request of the Nereids. The heroine's misfortune was to have a mother who praised her own beauty as superior even to that of the Nereids, the sea nymphs who were daughters of the god of the sea. According to mythology, the young woman was therefore chained to a rock and offered as a sacrifice to the terrible monster sent to appease the wrath of the nymphs, who were offended by Cassiopeia's unforgivable pride. This myth was very popular in Roman Baroque painting, often commissioned as a subject to decorate the sumptuous private rooms of the aristocratic palaces of Rome. Despite her Ethiopian origins, Andromeda is immortalised with white skin, a detail that was intended to appeal to the tastes of the patrons of the time, who would certainly not have appreciated a black-skinned figure as a beauty to be admired. Considering the context, the canvas seems to have been created to offer the observer an image of a female nude in an extremely sensual, almost erotic pose, as an object of pleasure for aristocratic patrons of the 16th and 17th centuries, who delighted in owning such compositions and displaying them in their collections. The work, which can be attributed to an artist active in Rome in the 17th century, draws direct inspiration from an engraving by Agostino Carracci, dating from around 1590 (fig. 1, https://www.britishmuseum.org/collection/object/P_U-2-154). The beautiful maiden is depicted according to an iconography particularly dear to artists of the period, with a pose reminiscent of classical goddesses, completely naked and chained to a rock and, just as described in Ovid's words, highly sensual. “As soon as he (Perseus, her liberator) saw her bound by her arms to the hard rock, had it not been for a slight breeze moving her hair and the warm tears flowing from her eyes, he would have thought her a marble statue... without knowing it, he was set ablaze and remained astonished and enraptured by the image of beauty he saw...” (Metamorphoses IV, vv. 672-683). 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. We would 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/
Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Flemish painter of the 17th/18th century Portrait of Augustus, first Roman emperor Oil on canvas 61 x 49 cm Framed 77.5 x 65 cm Full details of the painting (click HERE) The portrait depicts Augustus, founder and first emperor of the Roman Empire, as indicated by the radiate crown symbolising his divinity: his birth name, Gaius Octavius, was in fact given the title “Augustus” by the Senate, meaning “venerable” or “protected by the gods”, a title later adopted by all his successors. The portrait depicts him with an idealised and youthful face, with the intention of giving him an essence of eternal youth. The facial features, inspired by the sculptures of the time dedicated to him, such as the shape of the chin and nose, combine the realism of republican portraiture with the idealised forms of classical tradition. Founder of the Roman Empire, he ruled from 27 BC until his death in 14 AD and is considered one of the most influential figures in history, having transformed the Roman Republic into a principality. The portrait shown here is based on a painting by the Flemish painter Cornelis van Haarlem in 1622, now in the collection of Caputh Castle (https://www.spsg.de/en/palaces-gardens/object/caputh-house), near Potsdam, which was the summer residence of the Electors of Brandenburg from the end of the 16th to the end of the 17th century. The painting also became famous thanks to the dissemination of the print by Johann Friedrich Leonard (1633-1680), a copy of which is now in the “Staatliche Kunstsammlungen” in Dresden. Imm1. - Cornelis van Haarlem (1562-1638), Portrait of Emperor Augustus, Caputh Castle Collection Source: Zeri Foundation Catalogue: https://rkd.nl/images/778 Imm2. - Engraving of Emperor Augustus, by Johann Friedrich Leonard (1633-1680), Staatliche Kunstsammlungen Dresden Source: https://skd-online-collection.skd.museum/Details/Index/969560 This painting is part of a series of portraits dedicated to Roman emperors, originally commissioned by Prince Maurice of Orange, Stadtholder of the Netherlands, and then passed into the possession of the Grand Elector in 1680. These works, specifically the first twelve Roman Caesars, were created between 1616 and 1625 by various Dutch and Flemish painters, including Rubens, Hendrick ter Brugghen, Michiel van Mierevelt, and Dirck van Baburen (see image in the details of the room in the Castle where the collection of Caesars is kept). 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. If the work is purchased by non-Italian customers, 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. 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 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/
The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation Florentine painter, 17th century Alessandro Allori (Florence, 1535 – Florence, 1607) circle Oil on canvas, with gold highlights 131 x 173 cm In frame 144 x 187 cm Full details of the work (click HERE) A splendid canvas celebrating the theme of the Annunciation, the moment when the archangel Gabriel brings Mary the news that she will give birth to the Son of God, according to a typology that was very popular from the late 16th century to the first half of the following century. On the left, the Archangel Gabriel is depicted with his hands crossed over his chest, caught in the moment of the supreme announcement, with his eyes half-closed in an attitude of devotion. Before him is the Virgin Mary, seated on a chair that resembles a throne, as she looks up towards the dove of the Holy Spirit. The divine light is represented by golden rays emanating from God the Father, at the top left, and from the mouth of the dove, directed towards the Virgin, humble and submissive, who, as if in a mirror, responds with the Latin phrase: “Ecce Ancilla Domini” (behold the handmaid of the Lord), thus accepting God's will. The canvas shows superb execution, embellished with gold finishes that highlight the figures, and numerous details rendered with extraordinary skill: from the wooden throne decorated with geometric motifs, to the lace curtain, probably made with a bobbin, which separates the area behind, to the carpet defined in the smallest knots. Another element worthy of mention is the rendering of the faces, both characterized by an ethereal beauty emphasized by the whiteness of the complexion, as well as the angel's wings and the Virgin's crown, embellished with precious stones and macaroni. Next to the Madonna is a cushion with an open book, symbolizing the Old Testament: according to medieval tradition, the angel surprised Mary deep in prayer, reflecting on the biblical passage in which the prophet Isaiah foretells the future coming of the Messiah on Earth: “Ecce virgo concipiet, et pariet filium, et vocabitur nomen eius Emmanuel” (Behold, the Virgin shall conceive and bear a son, and shall call his name Emmanuel) (Isaiah 7:14). The work is inspired by the famous fresco in the Basilica of Santissima Annunziata in Florence (see image in details, fig. 1), painted around 1250, and displays stylistic features that unquestionably place it within the Florentine figurative culture of the 17th century. More precisely, we can trace its author to the circle of the Florentine Alessandro Allori (Florence, 1535 – Florence, 1607) who, like many Florentine artists of his time, made numerous copies of the fresco, either complete or partial, commissioned by the grand ducal family and Florentine noble families as objects of private devotion or gifts to be sent to eminent personalities, or at the request of foreign patrons. Among these, we can mention the small painting on copper, signed and dated by Alessandro Allori in 1606, now in Palazzo Pitti in Florence (fig. 2). The Museo del Duomo in Milan also has a copy of the painting by Allori himself from 1579, commissioned by Francesco I de' Medici as a gift for Cardinal Federico Borromeo. There is also the Annunciation attributed to Allori on display in the choir of the Monte dei Cappuccini (fig. 3), the one in the Museo San Domenico in Bologna (fig. 4), and finally the one kept in the Civic Museum of Spello in Perugia (fig. 5). From the collection of the municipality of Florence, we can also mention the Annunciation attributed to Cristofano Allori (fig. 6). Fig. 1: https://it.wikipedia.org/wiki/File:Annunciation_-_Santissima_Annunziata.jpg Fig. 2: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900297026 Fig. 3: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900620035 Fig. 4: https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=263428&force=1 Fig. 5: https://dati.beniculturali.it/lodview-arco/resource/HistoricOrArtisticProperty/1000138769.html Fig6: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900227307 ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organize 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/
The Rape Of Europa, Francesco Albani (bologna 1578 - 1660) Follower Of

The Rape Of Europa, Francesco Albani (bologna 1578 - 1660) Follower Of

Francesco Albani (Bologna 1578 - 1660) Follower of The Rape (or Abduction) of Europa Oil on panel 44 x 53 cm with gilded wooden frame (19th century) 61 x 71 cm Full details of the work (click HERE) The work depicts an episode from Greek mythology recounting one of Jupiter's many amorous adventures: the abduction of Europa, daughter of the king of Tyre, a city in Phoenicia, as described by the Latin poet Ovid in his Metamorphoses (Met. II, vv. 846-875). The work can be attributed to an artist who followed the stylistic and compositional models of Francesco Albani (Bologna 1578 - 1660), who was active among his followers between the 17th and 18th centuries. A disciple of Annibale Carracci, Albani is considered, along with Domenichino and Guido Reni, one of the leading exponents of Bolognese classicism, which was in great demand among the cultured patrons of the time. Thanks to a style characterised by idyllic compositions that were therefore pleasing to the most intimate tastes of the patrons, the majority of the Albani workshop's production can be found in mythological paintings. Looking at the painting in detail, we see the exciting moment when Zeus, having transformed himself into a beautiful white bull, kidnaps the beautiful Phoenician princess Europa and flees to the island of Crete. The girl, dressed in a long deep blue robe, is overwhelmed by the event and turns her gaze towards her maidservants still on the shore. She holds on to the horns of the bull, which runs impetuously through the rough waves of the sea, while four fluttering cherubs help the cunning Zeus in his endeavour: one supports the princess, another holds the reins of flowers, and another holds a fluttering red cloth, a device often used by Albani to emphasise movement. The composition, in particular, draws inspiration, albeit with variations, from the Rape of Europa preserved in the Uffizi Gallery, created by Albani in 1639 for Count Angelo Oddi of Perugia (https://it.m.wikipedia.org/wiki/File:Rape_of_Europa_-_Francesco_Albani.jpg). Many versions were based on the Uffizi version, as the canvas remained in Albani's workshop for a long time, including the one in the Roman collection of Marquis Patrizio Patrizi, and the versions in the Louvre and the Colonna Gallery in Rome. These compositions were hugely successful with critics and were highly praised by European collectors for their aesthetic and decorative value. In our case, the canvas is accompanied by a pleasant 19th-century carved and gilded wooden frame. ADDITIONAL INFORMATION: The work 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 the work is purchased by non-British customers, 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. 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 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/
Paolo Porpora (naples, 1617 - Rome, 1673), Still Life With Vase Of Flowers

Paolo Porpora (naples, 1617 - Rome, 1673), Still Life With Vase Of Flowers

Paolo Porpora (Naples, 1617 - Rome, 1673) Still Life with Vase of Flowers First half of the 17th century Oil on canvas 67 x 49 cm. - Framed 88 x 69 cm. Provenance: Finarte Milan, 17/12/2001, Lot 288, Estimate: €36,400 - €46,800 (ITL 70,000,000 - ITL 90,000,000) Critical notes: Expertise Ferdinando Bologna (18 September 1994) Dear Sir, I have examined the original painting in your possession depicting a still life with a vase of flowers (oil on canvas, 67 x 49 cm), and I believe it to be an authentic work by the 17th-century Neapolitan painter PAOLO PORPORA (Naples, 1617 - Rome, 1673). This work represents Porpora's pure florist style, which is rarer than his depictions of undergrowth with frogs, lizards and snakes. In the sense of a pure florist, moreover, the painting is not linked to the preferences that Porpora developed mainly during his later Roman period, but to his earlier ones, still in the Neapolitan period, providing beautiful evidence of his ties with the master Giacomo Recco, in whose workshop he entered when he was only fifteen years old. Going into chronological detail, this work is linked to masterpieces by the master such as “Still Life with Flowers, Fruit and Birds” in the Capodimonte Museum in Naples, which undoubtedly dates from no earlier than 1645-50 and documents the painter in an already mature and personal phase. Nevertheless, the painting dates back to an earlier period, unaffected by the influences of the Dutch painters Otto Marseus van Schrieck and Matthias Withoos, whom he met in Rome at a later date and who would profoundly influence his style, leading him to depict wonderful undergrowth, evoking its mysterious nature to the fullest. The work can therefore be dated to Naples in the early 1640s, before these Flemish influences, when Porpora was still inclined to interpret the models of the Neapolitan Giacomo Recco in modern terms, distinguishing himself for the intense naturalism with which the colourful corollas are depicted in the different stages of flowering, suggesting the passionate study from life that marks the beginnings of the genre. In more traditional still lifes, such as the one shown here, among which the “Still Life with Flowers, Melons and Crystal Cup”, also from the Capodimonte Museum in Naples (https://catalogo.fondazionezeri.unibo.it/scheda/opera/90042/), stands out, Porpora demonstrates his naturalistic nature but also a fervent imagination and compositional delicacy, aided by an excellent chromatic refinement and direction of twilight. These qualities can be clearly seen in the canvas presented here, whose atmosphere is enlivened by the presence of the refined historiated vase. The work is of very high quality and is in excellent condition. **Finarte Milan, 17/12/2001 (Antique furniture and paintings), Lot 288 - Source: Artprice 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, using 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/
SOLD
Francois Boucher (paris, 1703 - 1770) School Of, Playing Cherubs And Cupids

SOLD

Francois Boucher (paris, 1703 - 1770) School Of, Playing Cherubs And Cupids

Francois Boucher (Paris, 1703 - 1770) School of Playing Cherubs and Cupids Second half of the 18th century Oil on panel “en camaieu” (monochrome) in purple 49 x 38 cm with frame 56 x 45 cm. Full details directly at the following LINK The painting we are presenting, depicting a playful group of cherubs and cupids, is rendered in the particular decorative technique called “en camaieu” (literally monochrome), achieved using different shades of the same colour, in this case purple. It is a work of great elegance and chromatic charm, created in the light and frivolous spirit of French Rococo. The painting is based on the compositional models of the French painter François Boucher (Paris, 1703 - 1770), an artist much appreciated at the court of Louis XV and known for his scenes inspired by mythology, often reinterpreted in a sensual and decorative key. Boucher used this technique on numerous occasions, for example in the decorations of the Cabinet du Prince in the library of the Hôtel de Soubise in Paris, where two monochrome blue paintings depicting small cherubs as allegories of Hunting and Fishing are set in the upper corners of the hall (see photo in detail). The subject is expressed in a triumph of the canons of the Rococo period, the most delicate, light and at the same time elegant of styles, capable of interpreting in painting the peculiarities of French society under the Ancien Régime: the composition, with cherubs arranged on clouds and surrounded by flowers, is characteristic of Rococo aesthetics, which favours light, decorative and often sensual scenes. Francois Boucher and his workshop devoted much 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 work, which can be dated to the second half of the 18th century, can be attributed to a pupil or follower active shortly after the French painter. Often these works were not canvases to be exhibited, but part of a larger decorative project, designed to blend harmoniously with the furnishings of a Rococo setting, presumably a series of works placed in the boiserie or as a mantelpiece. 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, 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 operation are included. 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/