Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - C. 1718) (2/2) - Galleria Castelbarco - Recent Added Items

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Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - C. 1718) (2/2)

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Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - C. 1718) (2/2)

9800 €


Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The pendenat of this painting can be viewed at the following - link - The merit of the 17th century Bergamasque school of painting is to have ‘invented’ a type of still life, almost exclusively of musical instruments, that was as successful with the collectors of the time as it continues to be with critics and the modern market. Alongside the dominant figure of Evaristo Baschenis, the great initiator of this pictorial strand, was Bartolomeo Bettera, who had the ability to seize the inheritance but still forged his own identity, with his own pictorial characteristics. Our beautiful canvas is to be placed precisely in the sphere of this second great painter, and in particular is attributable to the hand of his son, Bonaventura Bettera (Bergamo, 1663 - documented until 1718), and illustrates, according to a scenography dear to the artist, the usual display of musical instruments lying on a surface covered by an elegant draped carpet and framed by a curtain with golden motifs descending from above. This attribution is corroborated by a comparison with two signed canvases by Bonaventura, around which the painter's, albeit meagre, body of work has been reconstructed: the first is dated 1718 and comes from Palazzo Passi in Bergamo (now in La Spezia, private collection), the second was originally painted for Palazzo Greppi in Milan (now in a private collection in Bergamo) (1). (1) For both paintings see most recently A. Morandotti, Bonaventura Bettera, in La natura morta in Italia , edited by F. Porzio, 2 vols., Milan 1989, I, p. 278, fig. 324 and p. 275, fig. 325. It should be borne in mind that many paintings on the art market have often been attributed to his father, given the great consonance in style, although a more in-depth analysis could indeed bring them closer to the production of the younger Bettera: in particular, in Bonaventura we can see the transition to an 18th century decorative taste characterised by a marked lightening and cooling of the chromatic tone compared to his father's paintings, together with a strong simplification of details. This characteristic can precisely be seen in the painting in the Puskin Museum in Moscow (2), where we see the young Bettera, who, starting from a phase of strict adherence to his father's models, declines them through a brighter register and the adoption of celestial and pastel tones. (2) Bettera Bonaventura (Moscow, Pushkin Museum, http://www.italian-art.ru/canvas/17-18_century/b/bettera_bonaventura/still_life_with_musical_instrum...) Returning to the details of our work, and to its pendant, we thus find all the elements of the Bergamasque still life, with the display of objects and musical instruments, such as musical scores, violin, lute, viola, all arranged on a table placed in an asymmetrical position with respect to the proportions of the canvas and accompanied by a worked carpet; in addition, we can see other objects, such as a globe, a casket, a book, and various animals, all typical details of the Bettera workshop. There are no human figures, but musical instruments left there, inanimate objects, seemingly randomly arranged, as if abandoned, some upturned, on top of others; there is even a layer of dust, next to the musical manuscripts. By way of comparison, we illustrate below a roundup of works that might be similar to ours, in terms of scenic import and style of composition. In particular: - Bettera Bartolomeo - Bettera Bonaventura attr. (https://patrimonioculturale.regione.fvg.it/opera/?s_id=499871) - Bettera Bartolomeo - Bettera Bonaventura (Moscow, Pushkin Museum, http://www.italian-art.ru/canvas/17-18_century/b/bettera_bonaventura/still_life_with_musical_instrum...) - Bettera Bonaventura - Still Life with Musical Instruments and World Map (Private Collection. https://www.didatticarte.it/Blog/wp-content/uploads/2024/02/image-102.jpeg) - Bettera Bartolomeo, Still Life with Musical Instruments and Apple (Private Collection, Bergamo, https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/151011/) - Bettera Bartolomeo, Still life with musical instruments (Antiques market, London, https://catalogo.fondazionezeri.unibo.it/scheda/opera/86907/) - Bettera Bartolomeo (Christie's, 27.1.2010, New York, https://www.christies.com/lot/lot-5287628/?intObjectID=5287628) ADDITIONAL INFORMATION: The painting is sold complete with a nice gilded frame and comes with a certificate of guarantee and authenticity. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional, tracked 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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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

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 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)

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)

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)

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/

Allegory Of Poetry (the Muse Calliope), Pierre Charles Trémolières

Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) Allegory of Poetry (the Muse Calliope) 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, it portrays Calliope, the Muse of Poetry, seated on clouds among flowers, with her lyre (which accompanies her singing) and trumpet (symbol of fame); dressed in silk and with her head crowned with buds, she is depicted holding a small crown of corollas, a sheet of paper and a voluminous book of poems. 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 Poetry 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 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 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 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 turquoise lacquered wooden frame and is sold with a certificate of authenticity and 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. 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The Annunciation, Tuscan School, 17th Century

Tuscan school,17th century The Annunciation Oil on canvas 55 x 73 cm In antique lacquered frame 73 x 92 cm NB: The darker strip at the top of the canvas is the shadow of the frame Full details of the work (click HERE) We offer this delightful Annunciation, attributed to a painter active in Tuscany, specifically from the Florentine school, in the first half of the 17th century. The style still reflects the pictorial stylistic features of the previous century, an extraordinarily fruitful artistic period that saw a succession of leading artistic figures, making Florence one of the most influential centres for painting at the time. The work, certainly commissioned as an object of private devotion, follows the most typical iconographic pattern, with the Archangel Gabriel standing with outstretched wings in front of the Blessed Virgin, portrayed with unearthly beauty, who imperiously presents her with the supreme announcement. Suspended in flight above a cloud, he holds white lilies, symbols of purity and chastity, in one hand, while the other points to the dove radiating light, emblem of the Holy Spirit, surrounded by a halo of intense glows and plays of light. The dove of the Holy Spirit, depicted entering Mary's room and heading towards her, is also a symbol of the conception of Jesus through the Spirit. ADDITIONAL INFORMATION: The canvas is in good condition and is paired with an antique wooden tabernacle frame. The painting 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. 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/

Triumph Of Bacchus, Jean Jacques Spoede (Antwerp 1680 - Paris 1757)

Jean Jacques Spoede (Antwerp 1680 - Paris 1757) Triumph of Bacchus Oil on canvas 66 x 83 cm. - In frame 84 x 101 cm. Full details (click HERE) In this fascinating painting, attributed to Jean Jacques Spoede (Antwerp, 1680 - Turin, 1752), we find ourselves immersed in the heart of a bacchanal, a pagan festival in honour of Bacchus, god of wine and intoxication, a Dionysian celebration that mixes sensuality, mythology and unbridled joy. It is a fascinating subject, which has ancient origins, specifically in the propitiatory celebrations that took place at the end of the grape harvest as a ritual of thanksgiving and conviviality to involve the farming community with dancing and singing, often accompanied by theatrical performances dedicated to the veneration of Bacchus, due to his ancestral links with the Roman god of wine. A Flemish painter active in Italy, Spoede is known for his ability to blend Nordic precision with the elegance and theatricality of Italian Baroque. After moving to Turin, he worked for the Savoy court, distinguishing himself for his mythological and allegorical scenes, and our painting is a perfect example of this: refined, cultured, but also surprisingly sensual. One of his paintings, very similar in subject and detail, is currently on display at the National Museum in Pozna?, painted between 1720 and 1730 (oil on canvas, 120 x 160 cm). Link: https://commons.wikimedia.org/wiki/File:Spoede_Bacchanals.jpg * The image offers us an opulent and lively vision, with a work that exalts the beauty of the body, the joy of the senses, and the freedom of the spirit, in a true apotheosis of the myth of Bacchus, presenting the viewer with a timeless universe where myth and nature, art and desire merge in an eternal embrace. At the centre of the composition, we see a monumental wine barrel adorned with vine branches, reminiscent of a profane altar, around which an exuberant dance of bodies unfolds, accompanied by the music of flutes and tambourines. Half-naked bodies and mythological figures, including satyrs and nymphs, intertwine in a whirlwind of movement, music, and pleasure. A satyr in the centre, crowned with vine leaves, raises his cup to the sky in an ecstatic gesture, evoking the spirit of Bacchus and celebrating wine as divine nectar. On the ground, both satyr and human children play among bunches of grapes, personifying innocence lost in the lust of the senses, and a leopard, alluding to the wild and primordial energy that characterises these festivals. The setting is lush: luxuriant nature embraces an architectural fountain in the background, almost like a forgotten temple, now reborn in Dionysian jubilation. A golden light, typical of Baroque painting, caresses the bodies and faces, enhancing the sensuality and euphoria of the moment. This setting acts as an imaginary portal between the earthly world and the mythological sphere: on the left-hand side, in fact, some peasants with baskets overflowing with grapes, the fruit of the harvest, watch the scene with amazement or veneration, suggesting the link between everyday life and the mythological dimension, between the sacred and the profane. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If 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/

Stormy Seascape With Ships, Jan Porcellis (Ghent 1584 C. - 1632)

Jan Porcellis (Ghent 1584 c. - Zoeterwoude-Dorp 1632) attributable Stormy Seascape with Ships Oil on canvas 73 x 96 cm In frame 91 x 115 cm Dorotheum Vienna, Old Master Paintings, 15 December 2020, lot 152, estimate €10,000-15,000 (link) Lempertz Cologne, Paintings and Drawings 15th - 19th C., lot 1030, estimate €12,000-16,000 (link) Full details of the work (CLICK HERE) This evocative seascape depicts a large galleon attempting to continue its course with its sails partially lowered despite the high waves of the storm it has encountered. In the distance, two other ships, part of the same convoy, are also at the mercy of the waves. The work's pictorial style allows it to be attributed to Jan Porcellis (Ghent circa 1584 - 1632 Zoeterwoude-Dorp), a painter of the Dutch Golden Age who specialised in seascapes and is considered a precursor of this pictorial genre. Among the various types of seascapes, a very popular and appreciated genre in 17th-century Dutch painting, there is one that depicts the open sea in stormy weather, where the artists aimed to highlight the vulnerability of man in the face of the power of nature: and it is precisely the human effort to dominate the elements that is the central theme of our painting. Our view is typical of the master, with his classic compositional style that made him highly appreciated at home and abroad: the emphasis is on the atmospheric effects of the sky, clouds, air and water, rather than on the sailing ships, with dark clouds on the left enhancing the atmospheric effect. Porcellis' contribution to Dutch art also lies in his emphasis on the effects of light: the composition is enveloped in a strong luminosity, with a cloud-laden sky from which flashes of light spread out, reverberating on the water and illuminating the foaming waves, highlighting the three-dimensionality of the painting. Strong contrasts of light and dark dominate the image and the colour palette is reduced to a few essential colours. ADDITIONAL INFORMATION: The work is sold complete with a pleasant antique 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: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Saint James Defeating The Moors In Battle, Antonio Tempesta

Antonio Tempesta (Florence 1555 - Rome 1630) Circle Saint James defeating the Moors in battle Oil on canvas 112 x 102 cm - Framed 125 x 114 cm Full details (click HERE) A valiant knight with his sword drawn, proud in his sumptuous armour outlined with golden ornaments, intent on controlling a majestic white horse, is placed at the centre of the painting: it is an evocative image of Saint James in battle defeating the fleeing Moors. This subject celebrates the most tumultuous aspect of St James' character, which earned him and his brother John the nickname Boanerghes, meaning “Sons of Thunder”, in the Gospel of Mark (3:17). According to tradition, around the middle of the 9th century, in the midst of the struggles for the Reconquista of the Spanish lands occupied by the Moors, while the enemy armies were clashing in the town of Clavijo, Saint James appeared in defence of the Christian troops frightened by the animosity of their adversaries, thus turning the tide of the war. This is a little-known iconography of the saint, which invests him with the status of an impetuous and unstoppable knight against the infidels, so much so that in the Spanish popular imagination he was given the nickname Matamoros, meaning “Killer of Moors”. It was therefore a recurring theme in Hispanic iconography, but it also spread to Italian art as an allegory of the victory of faith. Although it is a religious subject, it cannot be ruled out that it was intended for private devotion rather than for a place of worship: the painting has a distinctly “secular” rather than devotional character. This work, for which a pendant ( link ) is available, can be attributed to the workshop of Antonio Tempesta (Florence 1555 - Rome 1630), a leading artist of fundamental importance for the seventeenth-century development of the “battle” genre in painting. His style, which belongs to the late Renaissance or early Baroque period, is characterised by elements such as the dynamism of the composition, the dramatic use of light and shadow (chiaroscuro), and the expressiveness of the figures. He shaped his art in the culture of late Mannerism at the end of the 16th century, acquired from his early training in Florence in the workshop of the Flemish artist Giovanni Stradano, with whom he collaborated on the decorative work of Palazzo Vecchio. Active mainly in Rome from 1572, he worked for Pope Gregory XIII on the decorations in the Vatican Loggias, and for many of the most noble and influential families, such as the Farnese, Borghese, Giustiniani and Rospigliosi-Pallavicini, who sought him out above all as an author of scenes from historical and biblical battles. In fact, starting in 1613, he created a series of engravings of “biblical battles” inspired by Tasso's “Jerusalem Delivered” for Grand Duke Cosimo II, subjects that allowed him to enjoy great success in the Medici household and at the Florentine court, and which served as a source of inspiration for his subsequent pictorial production. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If 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/

The Conversion Of Saint Paul, Antonio Tempesta (florence 1555 - Rome 1630)

Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus (LINK) Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the episode, taken from the Acts of the Apostles, in which the young Roman tax collector Saul, while travelling to Damascus at the head of soldiers to persecute Christians, was blinded by a supernatural light coming from a rent in the sky that threw him to the ground. The majestic figure of Jesus appeared from the clouds and addressed the now dismounted soldier, while his companions around him, dazzled by what was happening, fled on their skittish horses. “Saul, Saul, why are you persecuting me?” are the words that Christ addressed to Paul, who, covering his eyes blinded by the glare with his hand, reclines his head. The episode depicts the amazement and fear of the conversion of the soldier Saul, the future apostle of the Gentiles Paul, who spreads his arms and stretches them towards the light, open to receive grace and divine illumination. Although it is a religious subject, it cannot be ruled out that it was intended for private devotion rather than for a place of worship: the painting has a distinctly “secular” rather than devotional character. This work, of which a pendant (link) is available, can be attributed to the workshop or circle of Antonio Tempesta (Florence 1555 - Rome 1630), a leading artist of fundamental importance for the 17th-century development of the “battle” genre in painting. His style, which belongs to the late Renaissance or early Baroque period, is characterised by elements such as the dynamism of the composition, the dramatic use of light and shadow (chiaroscuro), and the expressiveness of the figures. He shaped his art in the culture of late Mannerism at the end of the 16th century, acquired from his early training in Florence in the workshop of the Flemish artist Giovanni Stradano, with whom he collaborated on the decorative work of Palazzo Vecchio. Active mainly in Rome from 1572, he worked for Pope Gregory XIII on the decorations in the Vatican Loggias, and for many of the most noble and influential families, such as the Farnese, Borghese, Giustiniani and Rospigliosi-Pallavicini, and was particularly sought after as an author of historical and biblical battle scenes. In 1613, he created a series of engravings of “biblical battles” inspired by Tasso's “Jerusalem Delivered” for Grand Duke Cosimo II. These subjects brought him great success with the Medici family and the Florentine court, and served as a source of inspiration for his subsequent paintings. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If 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/