Port View In Moonlight, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, 1699) - Galleria Castelbarco - Recent Added Items

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Port View In Moonlight, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, 1699)

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Port View In Moonlight, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, 1699)

8900 €


Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Expertise by Emilio Negro. We are pleased to present this pleasing nocturnal coastal view illuminated by the cold light of the moon, and set in a fantastic harbour with an almost surreal atmosphere, made fascinating by the use of almost monochrome hues with characteristic predominantly brown tones softened by golden reflections. The marina is organised on the skilful juxtaposition of realistic data with others of pure fantasy, and is therefore characterised by steep heights, imaginary constructions, numerous boats and the presence of many characters engaged in their activities. This compositional choice echoes the works of the many northern European artists active in Italy during the 17th century - from Pieter Mulier (the Cavalier Tempesta) to Adriaen van der Cabel to name but a couple - who spread an alternative to classicist Vedutism, juxtaposing the realist vision with details from their imagination. All of these elements - together with the unmistakable clouds with their typical atmospheric, chromatic and luministic values - allow us to link our painting to the pictorial corpus of Giovanni Grevenbroeck (Netherlands, c. 1650 - Milan, post 1699), the progenitor of the family of painters from the Netherlands. The painting expresses all the stylistic and pictorial characteristics of his works, in one of the favourite subjects of his famous workshop: the scene set in a fantasy harbour is the most typical of his repertoire, always somewhere between figurative description and caprice. After his apprenticeship in Flanders, Giovanni Grevenbroeck came to Italy, specifically to Rome, receiving numerous commissions from the great noble families, such as the Colonna. However, his stay in Rome was a brief interlude in his career, which was to take place largely in Milan, from 1672 onwards, where he spent much of his life painting landscapes and seascapes at dawn and dusk to great success, reported in the inventories of the most important local picture galleries of the time. His numerous compositions evoke, as is also the case in the canvas under examination, the qualities of 17th-century Roman landscape painting, enlivened by both the northern European examples of Claude Lorrain and the central Italian ones in the style of Salvator Rosa, with the particularity of rendering his port views as flamboyant vedute that entrust the luministic component with the task of highlighting naturalistic details with its typical atmospheric intonations. To convince oneself of the attribution, one only needs to compare the canvas with the majority of his body of paintings, in particular the seascapes at dawn and sunset from Chateauroux (Musée Bertrand) or, even more so, the Seaports of Alençon (Musée des Beaux-arts et de la Dentelle), works sometimes attributed to one or other of his sons, but which can be traced back to Giovanni thanks to more recent studies of the prolific work of this active family of 17th-century vedutists. ADDITIONAL INFORMATION: The work is completed by an antique frame and is sold 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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Viale Giovanni Prati, 39 ,
38064 Riva del Garda

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Madonna And Child, Sebastiano Conca (gaeta 1680 – Naples 1764) Circle

Sebastiano Conca (Gaeta 1680 – Naples 1764) circle Madonna and Child Oil on copper 26 x 20 cm In high-quality period frame 72 x 50 cm Full details of the work (click HERE) The work depicts the Madonna lovingly holding the sleeping Child in her arms, celebrating motherhood in an image of great simplicity and profound spirituality. The composition is pervaded by an aura of tranquillity and devotion, accentuated by the sweetness of the faces and the delicacy of the colour tones, with the light gently shaping the figures. These characteristics of the painting, combined with the graceful classicism of the composition and the elegance of the pictorial execution, lead us to attribute its authorship to an artist belonging to the late Roman Baroque period, active between the 17th and 18th centuries, to be identified among the pupils of Sebastiano Conca (Gaeta 1680 - Naples 1764). A Rococo painter of Campanian origin, active mainly in Rome in the 18th century, he had a very influential school. The painting is in good condition with a well-preserved pictorial surface. It is complete with a magnificent antique carved and gilded wooden frame, which perfectly complements and enhances the beauty of the painting. 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 our gallery in Riva del Garda. We would 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 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/

Jean-baptiste Van Loo (1684 - 1745), Portrait Of William Murray

Jean-Baptiste van Loo (Aix-en-Provence, 1684 - 1745) entourage Illegible signature traces in the lower right corner Portrait of William Murray, 1st Earl of Mansfield (1705 – 1793) Oil on canvas 76 x 63 cm. Framed 91 x 77 cm. Full details of the painting (click HERE) An English nobleman is immortalised in our portrait, dressed in a neat but not overly opulent manner, revealing his membership of an aristocratic or bourgeois British family of the first half of the 18th century. The subject poses naturally as he observes the viewer, aware of his rank, in keeping with the pictorial custom of the time which, in order to express a feeling, required painters to hint at emotions without making them explicit and therefore vulgar. There are no inscriptions revealing his precise identity, but nevertheless, based on a comparison with some prints and paintings of the period, we can match his features to William Murray, 1st Earl of Mansfield (1705–1793), a British judge, politician and lawyer, best known for his reforms of English law. Considered the most prominent British jurist of the 18th century, Mansfield's decisions reflected the Enlightenment and led the country towards the abolition of slavery. This is a type of portrait typically requested by the nobility, especially in England, between the 17th and 18th centuries, where the subject liked to be portrayed stripped of their trappings, without pompous clothes, fashionable accessories or elaborate hairstyles, in order to demonstrate that their status and value did not depend solely on the material wealth displayed with opulence. As for the authorship, by carefully observing the fine features of the subject, we can find convincing points of contact with the French painter Jean-Baptiste van Loo (Aix-en-Provence, 1684 - 1745), who stayed in England from around 1737 to 1742, a period of great success for the painter as a portraitist, and his works from this period are considered among his most important. ADDITIONAL INFORMATION: The work is sold complete with a beautiful gilded 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, 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/

The Miracle Of Saint Francis, Felice Cignani (Bologna 1658 - Forlì 1724)

Felice Cignani (Bologna 1658 - Forlì 1724) The Miracle of Saint Francis of Paola Oil on canvas 165 x 111 cm In frame 182 x 129 cm Work accompanied by an appraisal by Prof. Emilio Negro Full details of the painting (CLICK HERE) The painting (oil on canvas, 166 x 114 cm) is well preserved and depicts Saint Francis of Paola miraculously healing a young girl brought before him by her parents, with her mother holding her sleeping little brother in her lap. Originally from the Calabrian city from which he takes his name and who lived between the 15th and 16th centuries, Francis was a member of the Franciscan order, venerated for his healing powers, whose motto was “Caritas”, which we find here in the inscription visible on the altarpiece at the end of the staff. He was an important religious figure whose fame spread beyond the borders of Italy to France: on the orders of Pope Sixtus IV, he travelled to France to the bedside of King Louis XI, and although he was unable to heal the ailing sovereign, he helped him to repent, to make amends for many abuses, and to settle outstanding issues with the Holy See. From a stylistic point of view, as noted by Professor Emilio Negro in his study, we are in the presence of an interesting work by an artist active in Emilia between the 17th and 18th centuries, in whose style it is easy to recognise the influence of Carlo Cignani's pictorial corpus, and therefore to identify an artist in his workshop, in this case revealing a reinterpretation of the pictorial texts of Guercino and Annibale Carracci. In view of these elements, it is likely that the work is by Felice Cignani (Bologna, 1658 - Forli, 1724), a painter of noble birth, as well as the son and pupil of Carlo. He became a highly regarded master in his own right, one of the last followers of his father's glorious workshop, where, as is well known, even the most demanding tasks were entrusted to the best disciples due to the numerous commissions. This gave the students the opportunity to collaborate to the best of their ability, learning the secrets of the profession directly from the head of the workshop. The detail of the two figures in the background is beautiful, a mother with her child in her lap, which cannot fail to evoke the beautiful Madonnas with Child so dear to the Cignani workshop. To confirm the attribution proposed here, it is sufficient to compare our St. Francis of Paola with other works by Felice Cignani executed during his final years in Forlì, such as St. Gertrude (Forlì, Church of St. Mercuriale, https://catalogo.cultura.gov.it/detail/HistoricOrArtisticProperty/0800033536 ); in the latter painting, as in ours, the warm, strongly contrasting luminosity typical of the Bolognese artist emerges. And then there is the altarpiece with St Thomas Aquinas (Pinacoteca Civica “Melozzo degli Ambrogi”, Forlì, https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=57988&force=1 ) and Saint Philip Neri in Adoration (https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=58614 ) 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. 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/

Mary Magdalene, Upper Rhine Region 16th Century

Upper Rhine region, 16th century Mary Magdalene Oil on panel applied to wooden board 62 x 52 cm - framed 91 x 55 cm On the reverse, sticker referring to the Wallraf Richartz Museum in Cologne (on loan) Provenance: Lempertz, Paintings 15th-19th C., 23.09.2015, lot 45 Result: 17,360 € (incl. premium) - link FULL DETAILS OF THE WORK (CLICK HERE) The splendid female figure immortalised here is Mary Magdalene, one of the most fascinating and controversial subjects in Christian tradition, a symbol of sin and redemption, but also of mystery and femininity, whose image has inspired artists throughout the ages. The elegant appearance of Mary Magdalene and the clear and luminous colour palette of the work take us back to a master of the Upper Rhine, presumably German, active in the 16th century, influenced by the formal values of Flemish and Italian Renaissance painting. Young and attractive, with her usual long brown/golden hair falling in soft waves over her shoulders, the saint is depicted here as a princess, in elegant clothes, with a turban-shaped headdress embroidered with fabric resembling a crown, embellished with a jewelled brooch. Our image differs from the more common representations of Mary Magdalene as a penitent and hermit: it therefore refers to her worldly figure before her conversion, as a woman of great charm and strong emotional impact. Magdalene emerges with a Renaissance composure, but her intense gaze and long hair retain a mysterious aura, giving us a portrait with a mystical flavour, between earthly sensuality and visionary spirituality. Despite this “profane” rendering of the saint, she is depicted with symbols that enhance her spiritual role: the jar of ointment, linked to the Gospel episode of the anointing of Christ, the pendant with the crucifix, which recalls her unshakeable faith, and finally her loose hair, an aesthetic attribute par excellence but also a symbol of her transformation from sinner to penitent saint. 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 the 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/

Anton Raphael Mengs (aussig, 1728 - Rome, 1779), Portrait Of A Young Girl

Anton Raphael Mengs (Aussig, 1728 - Rome, 1779) Workshop Portrait of a young girl with a book Oil on canvas 64 x 49 cm - Framed 77 x 63 cm Full details of the work (click HERE) The work, depicting a charming portrait of a young girl, can be attributed to a neoclassical painter of the Roman school active in the 18th century in the entourage of Anton Raphael Mengs (Aussig, 1728 - Rome, 1779). The subject is a young woman immortalised in a half-length portrait, dressed fashionably in a boat-neck dress with puff sleeves, adorned with a blue bow on the left sleeve and gold embroidery. She wears precious earrings composed of a large pearl from which three other teardrop pearls fall, while her hair is gathered in a hairstyle embellished with other simple but precious jewels. She is holding a quill and a notebook, suggesting an artistic or intellectual activity, reinforced by a composed expression and a direct, penetrating and introspective gaze towards the observer. The work reflects the 18th-century taste for the new vision of neoclassical art, which also embraced portraiture, abandoning the excessive and redundant aesthetics of the Baroque in favour of a return to the principles of balance, composure and serenity. with these principles, Mengs soon became famous and sought after, rivalling the older Pompeo Batoni (1708-1787) for the role of first painter of the capital. He moved to Rome in 1741 and quickly became an extraordinary portrait painter, the most highly paid and sought-after in Italy and in the European courts of the late 18th century, a point of reference for wealthy travellers on the Grand Tour who wanted to visit his studio in Via Sistina to commission their portraits. The pose and details of the dress and the lightened background, like a kind of aura around the figure, are all references to Mengs' style, rendered here with such lightness and confidence that we can attribute the work to an artist from his close circle or a pupil. The details and masterful execution are very similar to the master's works, including, by way of comparison, his self-portrait (fig. 1 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900099752 ), the Portrait of Johann Joachim Winckelmann (fig. 2 - Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/437067), or the Portrait of the Engraver Francesco Bartolozzi (fig. 3 - Lviv National Art Gallery, https://commons.wikimedia.org/wiki/File:Mengs_Portrait_Kupferstecher_Francesco_Bartolozzi.jpg), in which we can find the same technical skill as well as the same stylistic peculiarities and the same cut, which gives the subject an incredible immediacy of expression. In all these works, the subjects are holding books and objects alluding to their culture. The same shape and structure of earrings, extremely precious given the size of the pearls that compose them, can be seen in his portrait of Maria Luisa of Bourbon (https://catalogo.fondazionezeri.unibo.it/scheda/opera/64308/). In good condition with some restoration on the surface, complete with gilded frame (small losses). ADDITIONAL INFORMATION: 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-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 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/

Annunciation, Ciro Ferri (Rome, 1634 – 1689) Attributed

Ciro Ferri (Rome, 1634 – Rome, 1689) Attributed to Annunciation (probably a preparatory sketch) Oil on canvas 61 x 41 cm - In frame 79 x 49 cm Full details (click HERE) The work, certainly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, an episode from the Gospel set here with the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, portrayed with supernal beauty, and the Virgin; Here she is depicted absorbed in reading a prayer book with her eyes humbly lowered in devotion, while a small cherub hands her white lilies, symbols of purity and chastity. In the upper part of the composition is the austere image of God the Father, with the dove radiating light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering among the clouds filled with intense flashes and plays of light, in full Baroque style. An analysis of the stylistic and figurative characteristics of our painting shows that it belongs to the 17th-century Roman school, distinguished by its refined style and ability to blend the Baroque language, by definition opulent, with elements of classical influence. In particular, observing the iconographic characteristics and the drawing traits, we find it fitting to compare it to the style of Ciro Ferri (Rome 1633 - 1689), one of Pietro da Cortona's best pupils, who took up his mastery of drawing and colouring, but embraced a more classical and delicate style. The structure of the painting clearly shows that we are looking at a valuable preparatory sketch, presumably a study for a fresco or a larger altarpiece; this suggests that the final work was intended to decorate the span of a church or a private chapel. ADDITIONAL INFORMATION: The painting 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. 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. 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/

SOLD

Fantastic View With Port And Architectural Capriccio, Alessandro Salucci

Alessandro Salucci (Florence, 1590 - Rome, 1657) Fantastic view with port and architectural capriccio Oil on canvas (94 x 129 cm - framed 117 x 156 cm) The painting is accompanied by a critical report by Ferdinando Arisi Full details (click HERE) The scene, bathed in a striking morning light, depicts a fantastic harbour view dominated on the right by an imposing classical architectural structure, flanked by a Renaissance-style palace, while in the background we see the ruins of a portico punctuated by arches and Corinthian columns. The fascinating composition is enlivened by figures of merchants dressed in oriental fashion, waiting to resume their journey laden with goods. Professor Arisi recognises the style of the Florentine painter Alessandro Salucci (Florence, 1590 - Rome, c. 1660) who, after initially training in his hometown, moved to Rome at a very young age, where he soon began collaborating with established painters and specialising in the execution of imaginary architectural views, becoming one of the most significant vedutisti active in the Eternal City Specifically, our work can be traced back to the documented collaboration between the painter, a specialist in the creation of painted architecture, and the Flemish artist Jan Miel (1599 - 1663), who was active in Rome from 1636 and was one of the most famous artists of the “bamboccianti” movement, and who created the figures. His creations were strongly influenced by the art of Viviano Codazzi (1604–1670), with whom he was often confused, but they are distinguished by greater imagination, managing to blend the main Roman monuments with refined elegance. The element that makes his “capriccios” unique is the creative power with which he outlines the characters: he does not seek to represent buildings in an objective or realistic manner, and therefore his works are true architectural scenographies of pure fantasy. The ancient structures in his compositions, such as the arch in the background here, are not recorded in archaeological detail but are used exclusively for decorative effect. For comparison, see some paintings similar to ours in terms of quality and scenic setting, where we find the same compositional scheme with the same building on the side in the foreground serving as a backdrop, and the composition unfolding in a dynamic succession of multiple planes. Among these: (fig.1) A. Salucci, Marina with port, triumphal arch, buildings and figures (Arte Antica '95. Biennale di Antiquariato, 1995, p. 19) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54932/ (fig.2) A. Salucci, Fantasy view with Campo Vaccino and the Colosseum (Busiri Vici A., Architectural Fantasies by Alessandro Salucci, in Capitolium, 1962, 13) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54915/ (fig.3) A. Salucci/M. Cerquozzi, Marina with buildings, sailing ships and figures (Cincinnati Art Museum) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54882/ (fig.4) A. Salucci/J.Miel, Ideal architecture with figures along the seashore, oil on canvas, 114 x 165 cm (Vienna Dorotheum, 17.10.2012) https://www.dorotheum.com/it/l/4560793/ (fig.5) A. Salucci, Meeting between Solomon and the Queen of Sheba (Banca Italia Collection) https://collezionedarte.bancaditalia.it/web/guest/-/alessandro-salucci ADDITIONAL INFORMATION: The painting is sold complete with a pleasant antique frame and 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. 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/

Christ At The Column, Lombard School Of The 1500s

Lombard School of the 1500s Christ at the Column Oil on panel 24 x 21 cm - Framed 42 x 39 cm Full details (click HERE) The painting, rich in pathos and strong spirituality, depicts a moment from the Passion: it is “Christ at the Column”, a recurring iconographic subject in Christian art, representing Jesus bound during the flagellation, an episode narrated in the Gospels. The body of Christ, still bound within a prison cell, is portrayed here in full figure and modelled using strong chiaroscuro: this is a fine example of late Renaissance painting from the Lombardy area of northern Italy, reminiscent of 16th-century models and presumably based on a model by Giampietrino. A similar painting, larger in size, is kept in the Church of St. Alexander in Milan (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300014556). The “Christ at the Column” is an image laden with religious significance, evoking physical and spiritual suffering. We see him with an expression of quiet suffering; his acceptance of his fate is an example of mercy and divine love, a central message in Christian theology. The symbolism it contains is also interesting: the column itself represents not only the instrument of punishment, but also a symbol of stability and moral strength, which for the faithful represents the unshakeable faith of Christ. The window on the left, which plays a crucial role in illuminating the scene and emphasising the approach of the divine call, is also a symbol of openness to grace and the action of Christ. Finally, there is the red cloth that was used to wrap Christ, a symbol of his passion and the blood he shed, alluding to Christ's physical and spiritual suffering during his Passion. Although the iconography of “Christ at the Column” rarely features other characters, in our case, the presence of the Virgin Mary, albeit discreet, is interesting. She is not at his side but behind the bars, spiritually present in her son's suffering, highlighting the strong bond between mother and son, even during the most painful trial. ADDITIONAL INFORMATION: The work comes complete with a 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 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 further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Jacob De Heush (utrecht 1657 – Amsterdam 1701), Coastal Landscape

Jacob de Heush (Utrecht 1657 – Amsterdam 1701) Coastal landscape with architectural ruins Oil on canvas (80 x 102 cm - In frame 100 x 119 cm) Provenance: Hampel Munich, 22.09.2016 lot 969 (link) Expertise by Prof. Ferdinando Arisi Full details (click HERE) The evocative landscape depicted here, which shows us the admirable blending of the Nordic and Italian landscape traditions, is a work attributable to the Dutch painter Jacob de Heush (Utrecht 1657 – Amsterdam 1701), one of the best vedutisti active in Rome at the end of the 17th century. It is emblematic of his painting style, with a coastal landscape embellished with classical architecture and the ruins of an ancient colonnade on the right, bringing it closer to the architectural capriccio genre. Jacob de Heusch moved to Rome from his native Utrecht in 1674, where he specialised in landscape painting, taking the works of Salvator Rosa as his model and skilfully combining the characteristics of the Dutch school, in particular the attention to realistic detail, with the more Italian imaginative and lyrical tradition of landscape representation. The resulting peaceful, idyllic mood became the hallmark of this artist, as we can clearly see in our painting. The figures are also typical, with some details appearing in other paintings by the artist, such as the woman with the child in the foreground, reminiscent of the woman riding a horse in the “Lazio Landscape” illustrated by Andrea Burisi Vici in his monograph on the artist (Rome, Bozzi, 1997, pp. 65, 121, cat. 22, ill. 39) and the man with his arms open not far from her, who can also be seen in the “Landscape with Waterfall” signed and dated 1693 (see, in the aforementioned volume, pp. 80, 81, 148, ill. 54, cat. 49). ADDITIONAL INFORMATION: Good condition, complete with gilded frame (not antique). The work is sold complete with certificate of authenticity and 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/

Antonio Joli (modena, 1700 – Naples, 1777), Pair Of Views Of Rome

Antonio Joli (Modena, 1700 – Naples, 1777) Pair of views of Rome 1. View of Rome with Trajan's Column and the Church of the Holy Name of Mary 2. View of Rome (Piazza Colonna) with the Antonine Column, Palazzo Chigi and Via del Corso Oil on canvas 41 x 31 cm Framed 53 x 43 cm Details of the works (click HERE) The two views of Rome on offer are taken from a work created around 1740 by the engraver Giovanni Battista Piranesi (Mogliano Veneto, 1720 – Rome, 1778), who had always been fascinated by the antiquities of the Eternal City. In particular, they are taken from the collection entitled “Architetture e Prospettive” (Architecture and Perspectives), which included 135 views of Roman antiquities. It was a collection of plates depicting classical ruins and ancient monuments, which brought him great fame, thanks above all to the original and captivating perspective of the compositions and the unexpected choice of subjects. In our case, we have Trajan's Column, erected to celebrate the Roman conquest of Dacia (now Romania) by the emperor Trajan, whose highlights are evoked in its sculptural decoration. The monument is immortalised from the side of Trajan's Forum, with the large dome of the Church of the Name of Mary and Palazzo Bonelli behind it. The second painting depicts the Column of Marcus Aurelius, an ancient monument erected to celebrate the victories of the Roman emperor Marcus Aurelius (161-180) over the Danube peoples during the Marcomannic Wars. Still in its original location, it gave its name to the square where it stands today, Piazza Colonna, with Palazzo Chigi behind it. Paintings such as these were originally created as a kind of “souvenir”, intended in particular for British travellers who came to Italy during their Grand Tour, satisfying the picturesque expectations of tourists staying in the Eternal City. The author of our pair of paintings, which represent a transposition onto canvas of his creations, is certainly a talented painter active in Rome in the second half of the 18th century. Executed around the sixth decade of the 18th century, we can attribute their authorship to Antonio Joli (Modena 1700 - Naples 1777), presumably with the contribution of his workshop. Originally from Modena, he moved to Rome in 1720, where he had the opportunity to perfect his skills alongside Giovanni Paolo Pannini from Piacenza. Based on his repertoire, which frequently features Roman views of the most popular squares in Rome, the Tiber and the Forums, we know that he could not have overlooked the illustrious work of the Venetian Giovan Battista Piranesi. These views are distinguished by a marked sobriety in the choice of colours and an emphasis on architectural elements, often animated by small groups of figures. ADDITIONAL INFORMATION: The works are sold complete with two antique frames from the same period 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 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: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Battle Between Cavalry, Antonio Calza (verona, 1653 – Verona 1725)

Antonio Calza (Verona, 1653 – Verona 1725) Battle between Christian and Turkish cavalry Oil on canvas 47 x 85 cm In frame 66 x 105 cm Full details (click HERE) Here we see a fierce battle between Christian and Turkish cavalry characterised by remarkable dynamism and expressive power. The two sides are in the heat of battle, while lifeless bodies and wounded horses lie on the ground, along with scattered weapons and a drum, heightening the drama of the clash. These elements, combined with the intense colour palette, careful attention to lighting and decisive, dramatic brushwork, suggest that the work is by Antonio Calza (Verona, 1653 – 18 April 1725), one of the most influential battle painters of the 17th century. In Rome, he became a pupil and then one of the best followers of Jacques Courtois il Borgognone (Saint-Hyppolite 1621 – Rome 1676), between the end of the 17th and the first quarter of the 18th century. Although he assimilated his master's teachings, he developed a personal style based mainly on the unmistakable dynamic development of the narrative and lively, bright colours, characterised by bright reds and blues. Although smaller in size, we can find in the work in question the distinctive stylistic features of Calza's painting, in particular figures and details that recur in his battles and can be implicitly considered his signature. In this regard, it is easy to compare the painting in question with those in his body of work, collected by Giancarlo Sestieri in his essay “Pittori di battaglie, maestri italiani e stranieri del XVII e XVIII secolo” (Battle painters, Italian and foreign masters of the 17th and 18th centuries), from which we have selected a few works that we present below (the relevant illustrations are shown in detail): Battle with Trumpeter and Drummer, 97x124.5 cm, Verona, Castelvecchio Museum Battle between Christians and Turks in front of a Fortress, Rome, Antique Market, 1940s Clash of armoured knights, 65 x 81 cm. Venice, private collection Battle between Christian and Turkish cavalry in front of a square tower, 80 x 103 cm. Bergamo, private collection Battle between Christian and Turkish cavalry, 93 x 122.5 cm. Ljubljana, Narodna Galerija Battle between Christians and Turks in front of a burning city, 99 x 128 cm. Vienna, Kunsthistorisches Museum Among the typical elements, the frequent towers are undoubtedly significant, contributing to the setting of the compositions and, together with clouds and black smoke, creating a sort of stage presence around the space of the battle. The painter often introduces a horse on the ground, of which we see only the rear, a trick to involve the viewer, making them active and part of the scene. Similarly, the lifeless bodies that the painter depicts in the foreground are often positioned face down with their heads turned towards the viewer. Finally, a detail present in many of Calza's canvases is a drum, placed in the foreground, overturned and abandoned. ADDITIONAL INFORMATION: Good condition, complete with gilded frame. The work is sold complete with certificate of authenticity and 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/

Madonna And Child, 16th-century Tuscan (florentine) School

16th-century Tuscan (Florentine) school Madonna and Child Oil on panel 70 x 56 cm In frame 106 x 92 cm Complete details of the work (click HERE) The painting on offer, executed in oil on panel and dating to the mid-16th century, depicts the Virgin Mary holding the baby Jesus on her lap, both looking curiously outwards, while a vast hilly landscape with trees stretches out behind them. The plastic style, incisive but formally harmonious and well balanced, allows the painting to be placed within the Florentine Renaissance production. Specifically, the authorship can be attributed to a talented painter whose style reflects the stylistic dictates of Raphael, recognisable here in the gentle, contemplative brushwork, characterised by a soft, diffused light. The vast landscape in the background, which blends harmoniously with the entire composition, is also an example of the “dolce stile” typical of the Urbino master. Lingering over the details, it is easy to find points of contact with some of Andrea del Sarto's works: his style, distinguished by a remarkable compositional balance and a high degree of formal control, had a great influence on the Florentine painters of the 16th century, combining in an exceptionally harmonious way the pyramidal scheme typical of Raphael's Madonnas with the monumentality of the figures derived from Michelangelo. ADDITIONAL INFORMATION: The painting is sold complete with a gilded wooden frame composed of antique elements 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: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/