Galleria Castelbarco
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
  • Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of
Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of

12000 €


Saint Michael Archangel Guido Reni (Bologna 1575 - 1642) Workshop/Follower of 17th-18th century Oil on canvas (104 x 68 cm. - In frame 109 x 68 cm.) Full details (Click HERE) This high quality painting is based on the famous St. Michael Archangel by Guido Reni, painted in 1635 for the Capuchin Church in Rome (PICTURE 1), erected by donation of Cardinal Antonio Barberini (1569-1646), brother of Urban VIII. After intensive training in Bologna, 27-year-old Guido Reni travelled to Rome in 1602, soon becoming a celebrated interpreter of the tastes of the most culturally influential circles, and winning the protection of great personalities such as Popes Paul V, Urban VIII and Scipione Borghese. The Archangel Michael, engaged here in the fight against Evil, is depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels to hell an irritated devil, whose head he tramples with his foot. The soft draperies envelop the angel's body with an intense classicism, where a balanced composition directs the viewer's attention to his angelic face. Great was the recognition and esteem of his contemporaries, and the painting was immediately an incredible success, also due to the controversy it aroused on the part of the Pamphili family, a family that had always been in conflict with the Barberini, who commissioned the canvas. In fact, Reni, having learnt that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had slandered him, in revenge impersonated the Devil with his own face. Guido Reni's cunning was to exploit the historical competition between two of the most influential families in seventeenth-century Rome, the Barberini and the Pamphili, for his own personal revenge, while at the same time giving his work sudden celebrity. Reni tried his hand at executing this subject on several occasions, much appreciated by his patrons, thanks to the characteristics of formal cleanliness and overall balance of the composition that still make it one of the cornerstones of Roman classicism today. With the help of his workshop, he used to return to the same subjects several times, producing versions of his most successful compositions, which makes it difficult to disentangle between autograph replicas, workshop works, often enriched by his intervention, and copies that became autonomous re-readings by some of his best pupils. We can affirm that the proposed canvas is the work of an artist from the workshop or a follower of Reni, painted at a time after his death. ADDITIONAL INFORMATION: The painting is sold complete with a gilded frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/      
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Galleria Castelbarco
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
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/
Susanna And The Elders, Giovanni Segala (venice 1663 - Murano 1720)

Susanna And The Elders, Giovanni Segala (venice 1663 - Murano 1720)

Giovanni Segala (Venice 1663 - Murano 1720) Susanna and the Elders oil on canvas (155 x 127 cm - with frame 174 x 146 cm) Full details of the work (click on the following LINK ) This delightful, large-scale painting illustrates the story of Susanna, recounted in the pages of the Old Testament (Daniel, XIII): the faithful wife of a wealthy Jew, she is molested while bathing in the garden of her palace by two lecherous old judges who threaten to denounce her as unfaithful if she does not grant them her favours. The woman does not give in to blackmail and faces trial for the false accusations of adultery; about to be stoned to death, she is saved by the prophet Daniel, behind whose intervention lies divine intervention, which will expose the two old men as liars. Here we see the moment when the two men appear behind the scantily clad young woman, who is in a state of shock as she tries to hide her nakedness with her arm and a white cloth, alluding to her purity. The iconographic theme of “Susanna and the Elders”, which apparently boasted moralistic intentions, became very fashionable from the Baroque period onwards due to its obvious erotic implications, duly masked by its biblical origin, and its intrinsic exaltation of marital fidelity and chastity. The representation of the half-naked Susanna was therefore often a pretext to satisfy the clients' desire for female nude subjects: the twist of her body is beautiful here, painted as a naked but innocent triumph of white and opulent flesh. The painting is the work of the Venetian painter Giovanni Segala (Venice 1663–1720), considered during his lifetime to be one of the leading exponents of Venetian painting at the turn of the 17th and 18th centuries. With his light colours and elegantly subdued painting style with large velvety surfaces, he was a proto-eighteenth-century precursor of Venetian painting: after initially studying under Pietro Vecchia, his sources of inspiration were Antonio Bellucci and Gregorio Lazzarini. At the end of the 1680s, he achieved such fame and prestige that he was hired by the Marquises Von Platen to decorate Linden Castle in Hanover, Germany, creating several works that are now preserved in the Historisches Museum in the same city. The characteristics of the work, a perfect example of his style, allow us to place it in an advanced stage of his career, when he favoured a delicate colour palette based on light and bright tones, as well as transparent colours and a soft luminosity. ADDITIONAL INFORMATION: The work sold is completed by a pleasant frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be happy to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Francesco Tironi (venice, Circa 1745 - 1797), View Of Venice

Francesco Tironi (venice, Circa 1745 - 1797), View Of Venice

Francesco Tironi (Venice, circa 1745 - 1797) View of Venice with the entrance to Cannaregio oil on canvas 59 x 75 cm with frame 72 x 88 cm Work accompanied by a descriptive note by Prof. E. Negro The canvas, which dates back to the ninth decade of the 18th century, is attributed to the Venetian landscape painter Francesco Tironi (Venice, 1745-1797) and demonstrates the artist's expressive skills in the mature phase of his career. It is a view of Venice, immortalising a glimpse of the city with several palaces, two churches and two bell towers, captured at the mouth of the Cannaregio Canal. the canvas therefore reproduces a picturesque corner of the lagoon populated by a gondola and boats sailing or anchored in that stretch of the famous city waterway, populated by numerous figures of merchants, sailors and commoners. Both the architectural structures of the buildings and the slightly rippled motion of the lagoon's waves have been reproduced with sober brevity compared to reality. Furthermore, the veduta composition is appropriately set against a background characterised by a vast portion of sky crossed by white clouds. In the 18th century, Venice experienced a second “golden age” in the artistic and cultural fields. Venetian landscape painting became a highly successful genre, satisfying the demands of patrician families and nobles, especially English and German, but also French, who visited the city during their “Voyage d'Italie” (Venice, Florence, Rome, Naples), and those who, although they had never been to Venice, wanted to decorate their residences with views of the Serenissima. Alongside Antonio Canal “il Canaletto” (1697-1768), the leading exponent of vedutismo, a large number of artists working in the lagoon city made this period of painting extraordinary. Among these, Luca Carvelarijs, the Guardi family, Francesco and his son Giacomo, Michele Marieschi and Francesco Tironi, to whom the painting in question is attributed, are worthy of mention. Our reference is supported by a comparison with the painter's authentic works, due to the similar way of setting up the scenes, the common tendency in the rendering of perspective, the attention to detail in the precisely drawn architecture, the marked play of light and shadow, and the Canaletto-style figures that animate the scene in the square. Tironi is characterised by a rather eclectic taste, which blends elements borrowed from Canaletto or Marieschi (in terms of the type of “macchiette” and the compositional structure of the views) with clear influences from Guardi (in terms of the synthetic rendering of the architectural elements, defined in a fluid manner). With regard to our View of Venice at the entrance to Cannaregio, there are numerous similarities with other compositional works by Tironi, so that to confirm the proposed attribution, it is sufficient to compare it with some drawings by the Venetian master (for example, the View of the island of Mazzorbo and that of the islands of Murano, of S. Michele and S. Cristoforo, both in New York in the Robert Lehman collection), as well as with the paintings depicting the View of the Grand Canal with the Rialto Bridge (Aiaccio, Musée Fesch), the View of the Brenta River (Genoa, Cambi Casa d'Aste, 16 December 2021, no. 211) and the pendant with views of St. Mark's Square and the island of S. Giorgio (Genoa, Wannenes, 5 March 2020, no. 773). These works, in fact, show clear stylistic similarities and similar perspective inventions that can also be found in our scene, namely a peculiar revival of early 18th-century landscape painting aimed at overcoming and simplifying the last remnants of the Baroque and a clear orientation towards more subdued figurative solutions, inspired by genuinely Venetian models in the design of the architecture: characteristics that recur in the rewarding works of Francesco Tironi. The view, in excellent condition, has been relined and enriched with a beautiful antique gilded and lacquered 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. 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 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/
Francesco Tironi (Venice, Circa 1745 - 1797), View Of Venice

Francesco Tironi (Venice, Circa 1745 - 1797), View Of Venice

Francesco Tironi (Venice, circa 1745 - 1797) View of Venice with the Church of S. Geremia and the Ponte delle Guglie oil on canvas 59 x 75 cm. - with frame 72 x 88 cm. Work accompanied by a descriptive note by Prof. E. Negro The canvas, which dates back to the ninth decade of the 18th century, is attributed to the Venetian landscape painter Francesco Tironi (Venice, 1745-1797) and demonstrates the artist's expressive talents in the mature phase of his career. It is a view of Venice, immortalising a glimpse of the city with several palaces, a church and a bell tower, captured at the mouth of the Cannaregio Canal. as evidenced by the green tree branches sprouting from behind the walls of the small garden, the canvas reproduces a spring view of the Serenissima taken from the placid stretch of water overlooking the fork between the “Canal Grando, or Canalaso” (on the left) and the “canal de Canarégio” (on the right). The canvas therefore depicts a picturesque corner of the lagoon populated by boats and a gondola, while the figures painted on the boats and on the quay can be recognised as merchants, sailors and commoners. Both the architectural structures of the buildings and the slightly rippled motion of the lagoon's waves have been reproduced with sober brevity compared to reality. In the 18th century, Venice experienced a second “golden age” in the arts and culture. Venetian landscapes became a highly successful genre of painting, satisfying the demands of patrician families and nobles, especially English and German, but also French, who visited the city during their “Voyage d'Italie” (Venice, Florence, Rome, Naples), and those who, although they had never been to Venice, wanted to decorate their residences with views of the Serenissima. Alongside Antonio Canal “il Canaletto” (1697-1768), the leading exponent of vedutismo, a large number of artists working in the lagoon city made this period of painting extraordinary. Among these, Luca Carvelarijs, the Guardi family, Francesco and his son Giacomo, Michele Marieschi and Francesco Tironi, to whom the painting in question is attributed, are worthy of mention. Our reference is supported by a comparison with the painter's authentic works, due to the similar way of setting up the scenes, the common tendency in the rendering of perspective, the attention to detail in the precisely drawn architecture, the marked play of light and shadow, and the Canaletto-style figures that animate the scene in the square. Tironi is characterised by a rather eclectic taste, which blends elements borrowed from Canaletto or Marieschi (in terms of the type of “macchiette” and the compositional structure of the views) with clear influences from Guardi (in terms of the synthetic rendering of the architectural elements, defined in a fluid manner). With regard to our View of Venice with the Church of S. Geremia, Palazzo Labia and the Ponte delle Guglie, there are numerous similarities with other compositional works by Tironi, so that to confirm the proposal put forward, it is sufficient to compare it with some drawings by the Venetian master (for example, the View of the Island of Mazzorbo and that of the Islands of Murano, S. Michele and S. Cristoforo, (both in New York, in the Robert Lehman collection), as well as with the paintings depicting the View of the Grand Canal with the Rialto Bridge (Aiaccio, Musée Fesch), the View of the Brenta River (Genoa, Cambi Casa d'Aste, 16 December 2021, no. 211) and the pendant depicting the views of St. Mark's Square and the island of S. Giorgio (Genoa, Wannenes, 5 March 2020, no. 773). These works, in fact, show clear stylistic similarities and similar perspective inventions that can also be found in our scene, namely a peculiar revival of early 18th-century landscape painting aimed at overcoming and simplifying the last remnants of the Baroque and a clear orientation towards more subdued figurative solutions, inspired by genuinely Venetian models in the design of architecture: characteristics that recur in the rewarding works of Francesco Tironi. The view, in excellent condition, is enhanced by a beautiful antique gilded and lacquered 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. 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 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
Christ In Jerusalem, italian school of the 17th century

SOLD

Christ In Jerusalem, italian school of the 17th century

Jacopo Robusti, known as Jacopo Tintoretto (Venice, 1519 - 1594) Circle/workshop Christ in Jerusalem 16th/17th century Oil on canvas 85 x 104 cm In a fine antique frame (with missing pieces, defects and restorations) 106 x 123 cm. The image captures Christ's solemn and triumphant entry into Jerusalem, a crucial moment narrated in the Gospels and which has inspired numerous works of art, testifying to its importance in Christian tradition, commemorated on Palm Sunday. Christ, serene and majestic, is surrounded by a jubilant crowd that welcomes him with enthusiasm and devotion, spreading cloaks and palm branches on the ground as a sign of homage and acclaiming him as the Messiah with the cry “Hosanna!”. He is depicted riding a humble donkey, a symbol of peace and humility, in contrast to the grandeur of the event. The work plays with bold chiaroscuro, creating depth and emotional intensity, with divine light seeming to descend on Christ and part of the crowd, while the areas of shadow contribute to a sense of pathos and mystery, typical of Venetian Renaissance art, enhanced by the rich and vibrant colour palette. The painting is, in fact, a fine example of Venetian painting, the work of a Venetian painter active between the 16th and 17th centuries, based on the pictorial models of Jacopo Robusti, known as “il Tintoretto” (Venice, 1519 - 1594), one of the most daring and innovative figures of the Venetian Renaissance. In our opinion, the authorship should therefore be sought within his circle or among the large group of pupils who gravitated towards the master's Venetian workshop. His career, which spanned the 16th and 17th centuries, was characterised by a unique approach to painting that helped define Venetian Mannerism, with a unique ability to transform religious themes into compositions of great emotional intensity, which cannot fail to impress the observer. His quick and decisive brushstrokes are one of the most distinctive features of his style, giving his works extraordinary liveliness and dynamism. Finally, his bold use of light and shadow and theatrical perspective demonstrate extreme technical mastery and creative impetus, making his style highly recognisable and an inspiration to many 16th-century painters. Also noteworthy is the technical mastery of our author, with specific details of great emotional impact, such as the mother breastfeeding in the lower left corner, the pair of women with their backs to Christ, and finally the character, also with his back turned, which reflects Tintoretto's typical skill in portraying anatomical details, creating figures capable of exuding strength and vitality.
Saint Catherine, Lower Rhine, Circa 1480

Saint Catherine, Lower Rhine, Circa 1480

Wooden sculpture depicting Saint Catherine of Alexandria Provenance Lower Rhine or Southern Tyrol Late 15th century (circa 1480) Linden wood (single trunk, hollowed back), traces of polychromy on the back Height: 105 cm BONHAMS London, New Bond Street, Auction 23 June 2021, lot 2, estimate £12,000 - £18,000 (https://www.bonhams.com/auction/26979/lot/2/a-late-15th-century-carved-limewood-figure-of-a-female-s...) This wooden sculpture, depicting an elegant full-length Saint Elizabeth, is the work of a master sculptor of Gothic heritage who was active towards the end of the 15th century. Alluding to her noble origins as a princess, the saint appears crowned with a jewelled headdress resting on her long flowing hair, and presents herself as refined and elegant but with a solemn demeanour. Worthy of mention are the sumptuous robes that envelop her figure, consisting of a sophisticated bodice at the waist, worked with a pattern reminiscent of brocade fabric and embellished with a vertical band adorned with precious stones. The Holy Queen is then wrapped in a cloak placed on her shoulders and closed at the chest with a knot, a decorative detail with symbolic value that, in all likelihood, could be a reference to her union with Christ or her spiritual bond. Her left hand holds up her richly pleated and draped skirt, while her right hand, now missing, may once have held a sceptre or a book, or simply been placed in a gesture of blessing. With its elegant design, evoking the canons of the French Gothic tradition, the sculpture will capture the admiration of any lover of ancient sculpture, certainly for its ideal beauty but also for the strength and sense of solemnity it conveys. The quality of the work and the richness of the details, among which the drapery carved with great precision in the wood stands out, allow it to be compared to the rich sculptural production typical of the Lower Rhine area (or, as previously suggested, although less likely, of South Tyrol), which, from the 14th-15th centuries onwards, became one of the major centres specialising in the art of sculpture. Our artist was inspired by Italian and, above all, Flemish Renaissance culture; his style is therefore a personal synthesis of these two influences with French Gothic art. Speaking of Flemish influences, the work echoes the magnificent statue with the same subject, now housed in the Museum Catharijneconvent in Utrecht, a late 15th-century work by the Master of Leende (see image in details, https://adlib.catharijneconvent.nl/Details/collect/42290). Typical of Flemish art are the sumptuous clothes with heavy folds, the rounded egg-shaped heads, almond-shaped eyes, thick and spaced strands of hair and a subtle attention to detail. This is a work of exceptional sculptural quality, presented in good condition for its age, with a splendid burnished patina; there are some losses consistent with its age. 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. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
View Of Piazzetta San Marco In Venice, Vittore Zanetti Zilla (1864 - 1946)

View Of Piazzetta San Marco In Venice, Vittore Zanetti Zilla (1864 - 1946)

View of Piazzetta San Marco towards the Basin and the Island of San Giorgio in Venice Vittore Zanetti Zilla (Venice 1864 - Milan 1946) signed lower left ‘Zanetti’ Oil on canvas 71 x 100 cm. In frame 93 x 124 cm. Magnificent view of Piazzetta di San Marco in Venice, located between the Doge's Palace and the Marciana Library, with the two iconic columns of San Marco and San Todaro facing the basin with the pier. The Piazzetta dominates the foreground, animated by numerous figures, with the view extending towards the San Marco Basin in the background and the island of San Giorgio Maggiore emerging majestically on the horizon. The canvas is the work of an artist active between the 19th and 20th centuries, following the models of Venetian landscape painting based on the paintings of Francesco Guardi (1712-1793), drawing particular inspiration from the master's painting entitled “La Piazzetta di San Marco” (oil on canvas, 46x74 cm), now in Venice at the Galleria Giorgio Franchetti alla Ca' d'Oro museum, and generally considered one of the artist's first veduta-style canvases (link: https://www.wga.hu/frames-e.html?/html/g%2Fguardi%2Ffrancesc%2F3%2Fguard308.html). A late work by Guardi, dating from his mature period, it avoids difficulties and virtuosic perspectives, focusing on light and colour, with some acute observations on the environment. It was immediately very successful, so much so that it became a model for painters of the following century. Specifically, our painting is signed in the lower left corner by the painter Vittore Zanetti Zilla (Venice 1864 - Milan 1946), who was active in Venice between the 19th and 20th centuries. After training at the Academy of Venice, where he learned the rules of vedutismo, he followed the models of Giacomo Favretto and Guglielmo Ciardi. In 1898, he undertook a series of trips throughout Europe, which allowed him to substantially update his knowledge of the most innovative trends in painting. This led to a new body of work with a decidedly secessionist imprint, which was exhibited in the most representative international venues, starting with the Venice Biennale, and brought him to prominence. Paradigmatic of his painting is both the technique - a fat tempera varnished with oil - and the two-dimensionality of the depiction, reminiscent of the refined interlocking pieces of a mosaic. The view, in good condition, is intact with a few scattered retouches, not recently relined, and is enriched by a beautiful gilded frame. Francesco Guardi (1712-1793), La Piazzetta, Galleria Giorgio Franchetti alla Ca' d'Oro, Venice ADDITIONAL INFORMATION: The painting 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. Please contact us for any information, we will be happy to answer your questions. If the work is purchased by non-British customers, an export permit will be required, which takes approximately 15-20 days to obtain. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Allegory Of Painting And Drawing, Pierre Charles Trémolières (1703 - 1739)

Allegory Of Painting And Drawing, Pierre Charles Trémolières (1703 - 1739)

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Painting and Drawing Oil on canvas 86 x 112 cm In original lacquered frames 122 x 95 cm. Work accompanied by an expert report by Prof. Emilio Negro Full details of the work (click HERE) The painting is well preserved and depicts a refined iconography inspired by cultured classical literary models linked to the myth of Mount Parnassus, the Greek hill on which the Temple of Delphi stood and the waters of the famous Castalda spring flowed, dedicated to Apollo and populated by the Muses, the source of inspiration and poetry. Our canvas depicts one of the legendary deities who inspired creative fervour and who, over the centuries, acquired a specific influence in the fields of art and knowledge: in this case, the Allegory of Drawing and Painting is portrayed, seated on the clouds among flowers and painting tools (a hand rest, a palette, brushes), scantily clad in silk while holding a drawing board and a sheet of paper on which she is drawing the sculpted bust of the young woman in front of her. The learned subject illustrated and the peculiar dimensions of the painting suggest that it was originally an elegant “sovrapporta” intended to embellish the boiserie of the “studiolo” of an ancestral noble palace owned by a man of letters who loved music and the arts. The stylistic characteristics of this Allegory highlight the work of a French school artist active in the 18th century, gifted with an elegantly casual creative streak and a happy predisposition for easel paintings with secular themes. The seductive depiction is inspired by the finest examples of similar subjects produced in France and Italy in the mid-18th century, primarily the compositions of the French master Jean-Baptiste van Loo, from whom our Allegory draws inspiration for its refined style imbued with joyful theatricality. Both the fluid painting style with its bright but nuanced colours and the effective scenographic cut refer to the best French and Italian figurative culture of the Age of Enlightenment, and a comparison with the similar works of Pierre Charles Trémolières (Cholet, 1703-Paris, 1739) allows us to link our painting to the modus operandi of this interesting painter. A talented scion of a noble family from the Loire region, Trémolières was invited to Paris by the Count of Caylus, a close relative, who managed to get him accepted into the prestigious Parisian workshop of Jean-Baptiste Van Loo, enabling him to win second prize in the prestigious Grand Prix de Rome (1726) and subsequently be accepted into the French Academy in Rome. After many years in the papal capital, now famous and established, he was called back to his homeland where, at the height of his career, he was appointed head of decorations at the Hôtel de Soubise, one of the most important residences in Paris (now home to the French National Archives), working alongside other great painters such as François Boucher and Carle Van Loo. In 1738, he exhibited a beautiful painting, “Hercules and Hebe”, at the Paris Salon, which was then destined to adorn the walls of the aforementioned important noble residence and can still be found today in the prince's bedroom. Pierre-Charles Trémolières, Hercules and Hebe, Paris, Hôtel de Soubise (Prince's bedroom) (fig.1) These prestigious commissions, together with the pleasantness of his paintings, earned him a well-deserved reputation that made him one of the most sought-after artists among the nobility and wealthy bourgeoisie of Paris. Therefore, in support of the proposal put forward, it suffices to compare our beautiful Allegory, as well as with the work just mentioned, with others attributed to the French master, works in which the refined stylistic features usually used by Pierre Charles Trémolières stand out in a similar way. Among these, for example: Pierre-Charles Trémolières, Venus and Cupid (Louvre, Paris) (fig. 2) https://collections.louvre.fr/en/ark:/53355/cl010054925 Pierre-Charles Trémolières, Allegory of Comedy (The Metropolitan Museum of Art, New York) (fig.3) https://www.metmuseum.org/art/collection/search/437844 Pierre-Charles Trémolières, Venus Holding a Bow and Quiver and Cupid Holding an Arrow (Christie's 31 January 2023, Old Master Paintings and Sculpture Online, New York) (fig. 4) https://onlineonly.christies.com/s/old-master-paintings-sculpture-online/pierre-charles-tremolieres-... Pierre-Charles Trémolières, Venus and Cupid (Artcurial, Paris, France, 8 November 2011) (fig. 5) https://www.artcurial.com/ventes/1995/lots/31-a Pierre-Charles Trémolières, The Triumph of Galatea (Tajan Auction Paris, 12 June 1995) (fig.6) Pierre-Charles Trémolières, Flora and Cherub, private collection (fig.7) ADDITIONAL INFORMATION: The work is completed by a pleasant antique frame in turquoise lacquered wood and 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, 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, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Allegory Of Sculpture, Pierre Charles Trémolières (Cholet, 1703 - 1739)

Allegory Of Sculpture, Pierre Charles Trémolières (Cholet, 1703 - 1739)

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Sculpture Oil on canvas 112 x 86 cm In original lacquered frame 122 x 95 cm Work accompanied by expertise by Prof. Emilio Negro Full details of this painting (click HERE) The painting is well preserved and depicts a refined iconography inspired by cultured classical literary models linked to the myth of Mount Parnassus, the Greek hill on which the Temple of Delphi stood and the waters of the famous Castalda spring flowed, dedicated to Apollo and populated by the Muses, the source of inspiration and poetry. Our canvas depicts one of the legendary deities who inspired creative fervour and, over the centuries, acquired a specific influence in the fields of art and knowledge: in this case, the Allegory of Sculpture is portrayed sitting on clouds among flowers and tools of the trade (a marble slab with a sketched bas-relief, a ruler and a compass), scantily clad in silk with her head crowned with buds; she also holds a male bust on her lap, which she is carving with a mallet and chisel. The learned subject illustrated and the peculiar dimensions of the painting suggest that it was originally an elegant “sovrapporta” intended to embellish the boiserie of the “studiolo” of an ancestral noble palace owned by a man of letters who loved music and the arts. The stylistic characteristics of this Allegory highlight the work of a French school artist active in the 18th century, gifted with an elegantly casual creative streak and a happy predisposition for easel paintings with secular themes. The seductive depiction is inspired by the finest examples of similar subjects produced in France and Italy in the mid-18th century, primarily the compositions of the French master Jean-Baptiste van Loo, from whom our Allegory draws inspiration for its refined style imbued with a joyful theatricality. Both the fluid painting style with its bright but nuanced colours and the effective scenographic cut refer to the best French and Italian figurative culture of the Age of Enlightenment, and a comparison with the similar works of Pierre Charles Trémolières (Cholet, 1703-Paris, 1739) allows us to link our painting to the modus operandi of this interesting painter. A talented scion of a noble family from the Loire region, Trémolières was invited to Paris by the Count of Caylus, a close relative, who managed to get him accepted into the prestigious Parisian workshop of Jean-Baptiste Van Loo, enabling him to win second prize in the prestigious Grand Prix de Rome (1726) and subsequently be accepted into the French Academy in Rome. After many years in the papal capital, now famous and established, he was called back to his homeland where, at the height of his career, he was appointed head of decorations at the Hôtel de Soubise, one of the most important residences in Paris (now home to the French National Archives), working alongside other great painters such as François Boucher and Carle Van Loo. In 1738, he exhibited a beautiful painting, “Hercules and Hebe”, at the Paris Salon, which was then destined to adorn the walls of the aforementioned important noble residence and can still be found today in the prince's bedroom. Pierre-Charles Trémolières, Hercules and Hebe, Paris, Hôtel de Soubise (Prince's bedroom) (fig.1) These prestigious commissions, together with the pleasantness of his paintings, earned him a well-deserved reputation that made him one of the most sought-after artists among the nobility and wealthy bourgeoisie of Paris. Therefore, in support of the proposal put forward, it suffices to compare our beautiful Allegory, as well as with the work just mentioned, with others attributed to the French master, works in which the refined stylistic features usually used by Pierre Charles Trémolières stand out in a similar way. Among these, for example: Pierre-Charles Trémolières, Venus and Cupid (Louvre, Paris) (fig. 2) https://collections.louvre.fr/en/ark:/53355/cl010054925 Pierre-Charles Trémolières, Allegory of Comedy (The Metropolitan Museum of Art, New York) (fig.3) https://www.metmuseum.org/art/collection/search/437844 Pierre-Charles Trémolières, Venus Holding a Bow and Quiver and Cupid Holding an Arrow (Christie's 31 January 2023, Old Master Paintings and Sculpture Online, New York) (fig. 4) https://onlineonly.christies.com/s/old-master-paintings-sculpture-online/pierre-charles-tremolieres-... Pierre-Charles Trémolières, Venus and Cupid (Artcurial, Paris, France, 8 November 2011) (fig. 5) https://www.artcurial.com/ventes/1995/lots/31-a Pierre-Charles Trémolières, The Triumph of Galatea (Tajan Auction Paris, 12 June 1995) (fig.6) Pierre-Charles Trémolières, Flora and Cherub, private collection (fig.7) ADDITIONAL INFORMATION: The work is completed by a pleasant antique frame in turquoise lacquered wood and 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, 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, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Allegory Of Music, Pierre Charles Trémolières (cholet, 1703 - Paris, 1739)

Allegory Of Music, Pierre Charles Trémolières (cholet, 1703 - Paris, 1739)

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Music (the Muse Euterpe) Oil on canvas (112 x 86 cm. - In original lacquered frame 122 x 95 cm.) Work accompanied by expertise by Prof. Emilio Negro Full details of this painting (click HERE) The painting is well preserved and depicts a refined iconography inspired by cultured classical literary models linked to the myth of Mount Parnassus, the Greek hill on which the Temple of Delphi stood and the waters of the famous Castalda spring flowed, dedicated to Apollo and populated by the Muses, the source of inspiration and poetry. Our canvas depicts one of the legendary deities who inspired creative fervour and who, over the centuries, acquired a specific influence in the fields of art and knowledge: in this case, Euterpe, the Muse of Music, is portrayed sitting on the clouds among flowers and musical instruments (zither, flute, bagpipes), dressed in silk, with her head crowned with buds, holding a rolled-up sheet and a volume of musical pages. The learned subject illustrated and the peculiar dimensions of the painting suggest that it was originally an elegant “sovrapporta” intended to embellish the boiserie of the “studiolo” of an ancestral noble palace owned by a man of letters who loved music and the arts. The stylistic characteristics of this Allegory of Music highlight the work of an artist from the French school active in the 18th century, gifted with an elegantly casual creative streak and a happy predisposition for easel paintings with secular themes. The seductive depiction is in fact inspired by the best models of similar subjects produced in France and Italy in the mid-18th century: first and foremost, the compositions of the French master Jean-Baptiste van Loo, from whom our Allegory draws inspiration for its refined style imbued with a joyful theatricality. Both the fluid painting style with its bright but nuanced colours and the effective scenographic cut refer to the best French and Italian figurative culture of the Age of Enlightenment, and a comparison with the similar works of Pierre Charles Trémolières (Cholet, 1703-Paris, 1739) allows us to link our painting to the modus operandi of this interesting painter. A talented scion of a noble family originally from the Loire region, Trémolières was invited to Paris by the Count of Caylus, a close relative, who managed to get him accepted into the prestigious Parisian workshop of Jean-Baptiste Van Loo, enabling him to win second prize in the prestigious Grand Prix de Rome (1726) and subsequently be accepted into the French Academy in Rome. After many years in the papal capital, now famous and established, he was called back to his homeland where, at the height of his career, he was appointed head of decorations at the Hôtel de Soubise, one of the most important residences in Paris (now home to the French National Archives), working alongside other great painters such as François Boucher and Carle Van Loo. In 1738, he exhibited a beautiful painting, “Hercules and Hebe”, at the Paris Salon, which was then destined to adorn the walls of the aforementioned important noble residence and can still be found today in the prince's bedroom. Pierre-Charles Trémolières, Hercules and Hebe, Paris, Hôtel de Soubise (Prince's bedroom) (fig.1) These prestigious commissions, together with the pleasantness of his paintings, earned him a well-deserved reputation that made him one of the most sought-after artists among the nobility and wealthy bourgeoisie of Paris. Therefore, in support of the proposal put forward, it suffices to compare our beautiful Allegory, as well as with the work just mentioned, with others attributed to the French master, works in which the refined stylistic elements usually used by Pierre Charles Trémolières stand out in a similar way. Among these, for example: Pierre-Charles Trémolières, Venus and Cupid (Louvre, Paris) (fig. 2) https://collections.louvre.fr/en/ark:/53355/cl010054925 Pierre-Charles Trémolières, Allegory of Comedy (The Metropolitan Museum of Art, New York) (fig.3) https://www.metmuseum.org/art/collection/search/437844 Pierre-Charles Trémolières, Venus Holding a Bow and Quiver and Cupid Holding an Arrow (Christie's 31.01.2023, Old Master Paintings and Sculpture Online, New York) (fig.4) https://onlineonly.christies.com/s/old-master-paintings-sculpture-online/pierre-charles-tremolieres-... Pierre-Charles Trémolières, Venus and Cupid (Artcurial, Paris, France, 8 November 2011) (fig. 5) https://www.artcurial.com/ventes/1995/lots/31-a Pierre-Charles Trémolières, The Triumph of Galatea (Tajan Auction Paris, 12 June 1995) (fig.6) Pierre-Charles Trémolières, Flora and Cherub, private collection (fig.7) ADDITIONAL INFORMATION: The work is completed by a pleasant antique frame in turquoise lacquered wood and 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, 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, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/