Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685) - Galleria Castelbarco - Recent Added Items

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Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)

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Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)

7500 €


Jan van Gelder, italianizzato Giovanni Vangheldri (Anversa 1621 – Modena 1685) Ritratto della duchessa Vittoria Farnese d’Este (Parma, 1618 – Modena, 1649) moglie di Francesco I d'Este, duca di Modena e Reggio Olio su tela (72 x 55 cm. - In cornice antica 92 x 77 cm.) Elegante ritratto della duchessa Vittoria Farnese, figlia di Ranuccio I Farnese, duca di Parma e Piacenza e di sua moglie e di Margherita Aldobrandini, nipote di Giovanni Francesco Aldobrandini, principe di Rossano e di papa Clemente VIII. L’illustre effigiata venne data in sposa a Francesco I d'Este, duca di Modena e Reggio, ed il sontuoso matrimonio, che si tenne a Parma nel 1648, venne celebrato nei poemi dei grandi poeti del tempo, tra cui Giuliano Cassiani e Flaminio Calvi; durante le celebrazioni, venne messo in scena il balletto "La Vittoria d'Imeneo", scritto dal compositore Benedetto Ferrari in loro onore. L’autore immortala la nobildonna a mezzo busto e di tre quarti, con un abito scuro di grande eleganza adorno di diversi fili di perle, presentata con uno sguardo fiero ma gentile, come voleva la tradizione del tempo: durante il suo regno riuscì infatti a guadagnarsi il rispetto dei suoi sudditi per la sua pietà e generosità. Il dipinto, realizzato nella prima metà del Seicento, è da accostare ad un autore vicino al pittore Justus Sustermans (1597 - 1681), ritrattista fiammingo, noto per i suoi ritratti di membri dei Medici, di cui divenne pittore di corte, e della famiglia d’Este. In particolare, il nostro dipinto è attribuibile alla mano di Jan van Gelder (Anversa 1621 – Modena 1685), primo nipote di Justus Sustermans e chiamato dallo stesso Modena nel 1649 per far parte della sua bottega, rivestendo ufficialmente il ruolo di copista dei ritratti dei principi d’Este da inviare ad altre corti per scopi diplomatici. Van Gelder servì la corte anche sotto il ducato di Francesco II, e gli inventari estensi riportano numerosissime sue opere. Spettano a van Gelder le copie di alcuni ritratti di Sustermans, tra questi proprio Vittoria Farnese d’Este, oggi al Palazzo Ducale di Modena (imm.1 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800270782). Possiamo anche menzionare l’opera della collezione privata della Banca Popolare dell’Emilia Romagna, che potrebbe agevolmente ricondurre allo stesso van Gelder (imm.2 https://www.lagalleriabper.it/collezioni/ritratto-di-vittoria-farnese/) Questa tipologia di opere, spesso replicate in svariate occasioni, avevano il compito di divulgare le fattezza dei regnanti e venivano da essi donati ai sottoposti in segno di particolare favore o spediti in segno di amicizia agli esponenti delle altre casate. INFORMAZIONI SUPPLEMENTARI: L’opera venduta viene corredata di certificato di autenticità e garanzia. Ci occupiamo ed organizziamo il trasporto delle opere acquistate, sia per l'Italia che per l'estero, attraverso vettori professionali ed assicurati. È anche possibile vedere il dipinto nella galleria di Riva del Garda, saremo lieti di accogliervi per mostrarvi la nostra raccolta di opere. In caso di acquisto dell'opera da parte di clienti non italiani sarà necessario ottenere un permesso per l'esportazione che richiede circa 10/20 giorni, la nostra galleria si occuperà di tutta la fase fino all'ottenimento. Tutti i costi di tale procedura sono inclusi. Contattateci, senza impegno, per qualsiasi informazione aggiuntiva. Seguiteci anche su : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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Praying Madonna, Italy Second half of the 17th century

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

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

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

Portrait Of The Philosopher Democritus, Giovanni Battista Beinaschi

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

Portrait Of The Philosopher Heraclitus, Giovanni Battista Beinaschi

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

Thomas Wyck (1616 - 1677) Signed, Mediterranean Coastal View

Thomas Wyck or Wijck (Bewerwyck 1616- Haarlem 1677) Signed lower left: TWyck (under the floating barrel) Mediterranean coastal view ca. 1660 Oil on canvas, 43 x 52 cm in frame 57 x 66 cm. Provenance: Sotheby's, Amsterdam, Old Master Paintings, 18/05/2004, lot 19, Hammer price: €8,540 Porro Auction, Milan, Auction 75 Antique and 19th-century paintings, 29/05/2014, Estimate €15,000 / €18,000 The work is accompanied by a critical report by Raffaella Colace. This is a work by the painter Thomas Wyck (Bewerwyck 1616 - Haarlem 1677), an important Flemish artist of the Golden Age, originally from the city of Haarlem and specialising in the creation of beautiful landscapes and genre scenes, in this case a charming view of the Mediterranean, with a fortified city on a rocky promontory and merchants conversing on the shore. As highlighted by Dr Raffaella Colace in her study, the work belongs to the advanced phase of the painter's career, in light of the pictorial experiences he gained during his stay in Rome (cf. Bert W. Meijer, ed., Flemish and Dutch: paintings from Lombard collections, Silvana Editoriale, Milan 2002), and in particular can be compared with the Mediterranean landscape that belonged to the Hoogsteder & Hoogsteder Gallery in The Hague (see P. Huys Janssen, The Hoogsteder exhibition of Dutch landscapes, Zwolle 1991). Works dating back to 1640 include the View of Aracoeli (Munich, Alte Pinakothek), the Market Square of Portico d'Ottavia (private collection) and the View of Naples with Vesuvius Erupting (see All'ombra del Vesuvio, Exhibition catalogue edited by Nicola Spinosa, Naples 1990, p. 285), and Veduta di porto di combaciante gusto rappresentativo published in the exhibition catalogue “Pittori paesaggisti italiani olandesi del XVII secolo” (Utrecht 1965, fig. no. 71, pp. 144-46). Active in Rome between 1640 and 1642 - known here by the nickname “Tommaso fiammingo” - his style was strongly influenced by his stay in Italy, and in particular by his contact with that group of Nordic painters, almost all of them Dutch, working in Rome in the mid-17th century, known as the Bamboccianti. The canvas is in good condition. 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. 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 Lute Player, Gabriel Metsu (leiden, 1629 – Amsterdam, 1667) Follower

Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667) follower The Lute Player First half of the 18th century Oil on canvas 61 x 47 cm Framed 76 x 61 cm Full details of the painting (Click HERE) This high-quality painting belongs to a genre much appreciated by collectors of Flemish painting from the “Golden Age”, which focuses on the family intimacy that existed within the wealthy homes of the bourgeoisie of the time, with settings overflowing with ornamental details. The genius and success of these images lies in their ability to capture a particular domestic situation through a sort of photographic still image, all through skilful painting that draws on great attention to detail and the play of light. The paintings thus become snapshots that capture moments of everyday domestic life of the time, transporting us to the living rooms of the era. In our case, we are looking at an important, richly furnished residence, with furniture, paintings and valuable objects, from the stone fireplace with pilasters in the shape of fantastical figures, surmounted by porcelain tableware, to the sideboard with gilded statues, the paintings hanging on the walls and the damask tablecloth on which a silver jug and fruit are placed. The protagonists of the canvas are a married couple immortalised in a moment of everyday life: the husband is seated playing a lute, one of the most popular pastimes for the wealthy bourgeoisie of the time, while his wife, sumptuously dressed in a light satin gown and a feathered headdress, is seated at his side and entertaining their little dog by giving it a biscuit in exchange for its obedience. Each painting tells a story, because the works of 17th-century Dutch artists have the ability to create a striking atmosphere, immediately transporting us back in time to the Golden Age of the Netherlands. The work, highly refined in its details, is attributed to an artist active between the late 17th and early 18th centuries, and echoes the compositions created by Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667), who was mainly active in Amsterdam, where he became a successful and fashionable painter, creating genre works with an abundance of detail, especially conversation pieces depicting bourgeois life, revealing the influence of Johannes Vermeer, the great master of Delft. A similar painting is present in the RKD collection, as a follower (Dorotheum Alte Meister, 16 June 2011, lot 363) https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F241015 ) Among his pupils was Michiel van Musscher (Rotterdam, 1645 - Amsterdam, 1705), who often took up his compositional ideas, applying the same care to the rendering of details. One detail that stands out at first glance is the care that has been taken in rendering the dress; the sheen of the silk satin is a masterful touch. The same can be said of the theatrical treatment of light, which highlights the main figures. 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-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 additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Saint John The Baptist, Tomaso Pombioli (Crema, 1579 – Crema, 1636)

Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'estro e la realtà. La pittura a Crema nel Seicento, Milan 1997, pp. 64-87 Complete details of the work (click HERE) This high-quality painting is an eloquent emblem of the Baroque style, combining technical mastery, dramatic lighting and emotional depth in an image of great visual and symbolic impact, depicting St John the Baptist, an iconic figure of profound spirituality and devotion. The ascetic figure of the saint, lying immersed in a wild and isolated landscape, is complemented by his two canonical attributes, namely the lamb, the Christological symbol par excellence, and the shepherd's crook with the scroll, iconographic elements that enrich the work with profound theological meaning, making it particularly evocative. Great pictorial intensity has been reserved for the rendering of the figure, whose body exhibits defined musculature that expresses strength and austerity, in addition to the expression on his face, which conveys deep contemplation and spirituality. The skilful use of light and shadow enhances the volumes and creates an evocative atmosphere, while the colour palette, dominated by earthy tones, which then explodes into the vibrant red of the cloak, lends depth and drama. This painting is therefore not only a work of art, but a window onto a moment of reflection and spiritual connection, capable of enriching any environment with its imposing presence and eternal message. Ideal for collectors and lovers of sacred art, it offers a unique opportunity to own a piece of artistic history that is a source of great inspiration. The painting can be attributed to a skilled painter of the Lombard school active in the first half of the 17th century and, in particular, displays the main characteristics of the work of Tomaso Pombioli, the leading exponent of the Crema school of painting in the 17th century, from the composition to the palette, with a colour scheme halfway between the Cremonese and Venetian traditions, and the composition with the insertion of the landscape on the right, also reminiscent of the Venetian style. Particularly typical of the master is the lucid and wet rendering of the face of St John: his expression, with his languid eyes turned upwards in contemplation, adds an element of pathos and spirituality, which even today, as in the past, aims to elicit intense emotional reactions in the viewer. In this regard, we can mention one of the painter's most famous paintings, which, although secular in nature, fully incorporates the elements just described: it is the Portrait of a Musician with a Guitar, now in the Galleria dell'Accademia Tadini in Bergamo (https://www.lombardiabeniculturali.it/opere-arte/schede/S0010-00132/ ) ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame, a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in 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 additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Venus And Cupid, Venetian Painter Of The 17th-18th Century

Venetian painter of the 17th/18th century Venus and Cupid Oil on canvas 57 x 49 cm. In frame 71 x 61 cm. The painting captures the attention with its intimate and sensual representation, centred on a seductive, semi-naked Venus, with soft and sinuous forms, reclining on a bed with white draped sheets, with an expression of calm mischief on her face. At her side, Cupid reaches out his hands in a gesture that suggests complicity and affection, while at the same time wanting to retrieve his arrow, the iconic symbol of love. The light, which seems to come from above, caresses the figures, enhancing the roundness of their bodies and creating a play of light and shadow that lends depth and realism to the scene, with the dark background highlighting the figures in the foreground, focusing attention on the intimacy of the moment. The painting invites the viewer to contemplate the beauty of Venus, who embodies a prototype of exuberant beauty so appreciated at the time and who, as the goddess of love and eros, embodies attraction, desire and passion. The “sensual bond” between Venus and Cupid therefore represents the contrast between earthly love and higher, spiritual love, which can, however, become earthly and sensual through the arrows of love. Analysis of the painting allows us to place its execution within the Northern Italian school, carried out by an artist from the Venetian area active between the 17th and 18th centuries. The subject recalls those favoured by the school's founder, Pietro Liberi, who was interested in secular themes such as this, in which the clearly erotic aims were often combined with mythical tales. The witty mischief in the gaze of the sensual Venus, depicted in profile, is matched by the knowing expression of Cupid, whom she has disarmed.

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/

SOLD

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/

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/