The Redemption Of Adam And Eve, Jacob De Backer (antwerp, C. 1555 – 1585) - Galleria Castelbarco - Recent Added Items

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The Redemption Of Adam And Eve, Jacob De Backer (antwerp, C. 1555 – 1585)

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The Redemption Of Adam And Eve, Jacob De Backer (antwerp, C. 1555 – 1585)

12500 €


Jacob de Backer (Antwerp, c. 1555 – Antwerp, c. 1585) The Redemption of Adam and Eve after their Expulsion from Eden Oil on oak panel (106 x 76 cm - In frame 126 x 96 cm) FULL DETAILS (click HERE) The earthly paradise, known as the Garden of Eden, was a place of perfection and happiness where all kinds of delights grew; Adam and Eve were free to eat all the fruits that nature offered them, with the only restriction being that they could not eat from the tree of the knowledge of good and evil. However, Eve, tempted by the serpent (Genesis 3:1-5), disobeyed God's command, ate the apple from that tree and then persuaded Adam to do the same. The work we are offering shows the consequences of this disobedience, with the expulsion from Paradise and the transmission of original sin to all humanity. An extremely rare and fascinating theme, Adam and Eve are shown here chained and bound by the angel, symbolising their spiritual death: this iconography plays a key role in Christian theology, reminding us of the consequences of sin and the consequent need for redemption. Redemption is in fact the key theme of the painting: the great winged angel, majestic, is ready to save the two sinners, granting them the chance of redemption and of regaining God's grace. The painting is attributed to Jacob de Backer (Antwerp 1555–1585), a Flemish painter active in the second half of the 16th century and one of the most important Mannerist masters in Antwerp, occupying a prominent position between the generation of Frans Floris, from whom he was strongly influenced, and that of Rubens. The painting, clearly the result of a Northern European aesthetic, also demonstrates a significant awareness of Italian art, in particular the influence of late Florentine and Roman Mannerism, as can be seen in the works of Bronzino, Vasari and Salviati. This aesthetic was also very much in tune with the prevailing taste at the Prague court of Holy Roman Emperor Rudolf II, and indeed the inventory of the emperor's estate, drawn up after his death in 1612, lists four works by de Backer. Many of his compositions, although religious in theme, deal with complex allegorical subjects, which was interpreted as evidence that the artist had received a humanistic education and that his patrons came from the educated class of Antwerp. This work, in particular, is based on a now lost painting by Marte de Vos, of which an engraving has survived, entitled ‘Allegory of Redemption’ (fig. 1, https://wellcomecollection.org/works/pe52fbag). A painting taken from the original work is now in the Bayerische Staatsgemäldesammlungen (image 2: https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/168240/). Returning to our work, art historian Justus Müller Hofstede suggested in 1973 that the painting was derived from a cycle of five allegorical works painted by De Backer depicting scenes from the life of Jesus (see: Justus Müller Hofstede, Jacques de Backer. Ein Vertreter der Florentinish-Römischen Maniera in Antwerpen), which appeared in various European sales in recent years. Alongside the composition offered here, we can therefore mention as counterparts the pair of works ‘Nativity’ and ‘Crucifixion’ (image 3 Lempertz Cologne, 14.11.2015, lot 1427: https://www.lempertz. com/en/catalogues/lot/1057-1/1427-jacob-de-backer.html?utm_source=mutualart&... ), and another ‘Adoration of the Shepherds’ (image 4 Vienna Palais Dorotheum, 25.10.2023, lot 31: https://www.dorotheum.com/en/l/8751569/?utm_source=mutualart&utm_medium=referral ). The painting is in good condition with some scratches on the panels. ADDITIONAL INFORMATION: The painting is sold complete with a nice frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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Galleria Castelbarco

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The Lute Player, Gabriel Metsu (leiden, 1629 – Amsterdam, 1667) Follower

Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667) follower The Lute Player First half of the 18th century Oil on canvas 61 x 47 cm Framed 76 x 61 cm Full details of the painting (Click HERE) This high-quality painting belongs to a genre much appreciated by collectors of Flemish painting from the “Golden Age”, which focuses on the family intimacy that existed within the wealthy homes of the bourgeoisie of the time, with settings overflowing with ornamental details. The genius and success of these images lies in their ability to capture a particular domestic situation through a sort of photographic still image, all through skilful painting that draws on great attention to detail and the play of light. The paintings thus become snapshots that capture moments of everyday domestic life of the time, transporting us to the living rooms of the era. In our case, we are looking at an important, richly furnished residence, with furniture, paintings and valuable objects, from the stone fireplace with pilasters in the shape of fantastical figures, surmounted by porcelain tableware, to the sideboard with gilded statues, the paintings hanging on the walls and the damask tablecloth on which a silver jug and fruit are placed. The protagonists of the canvas are a married couple immortalised in a moment of everyday life: the husband is seated playing a lute, one of the most popular pastimes for the wealthy bourgeoisie of the time, while his wife, sumptuously dressed in a light satin gown and a feathered headdress, is seated at his side and entertaining their little dog by giving it a biscuit in exchange for its obedience. Each painting tells a story, because the works of 17th-century Dutch artists have the ability to create a striking atmosphere, immediately transporting us back in time to the Golden Age of the Netherlands. The work, highly refined in its details, is attributed to an artist active between the late 17th and early 18th centuries, and echoes the compositions created by Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667), who was mainly active in Amsterdam, where he became a successful and fashionable painter, creating genre works with an abundance of detail, especially conversation pieces depicting bourgeois life, revealing the influence of Johannes Vermeer, the great master of Delft. A similar painting is present in the RKD collection, as a follower (Dorotheum Alte Meister, 16 June 2011, lot 363) https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F241015 ) Among his pupils was Michiel van Musscher (Rotterdam, 1645 - Amsterdam, 1705), who often took up his compositional ideas, applying the same care to the rendering of details. One detail that stands out at first glance is the care that has been taken in rendering the dress; the sheen of the silk satin is a masterful touch. The same can be said of the theatrical treatment of light, which highlights the main figures. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

Tomaso Pombioli (Crema, 1579 – Crema, 1636) Saint John the Baptist Oil on canvas 99 x 130 cm. In frame 120 x 152 cm. Reference bibliography: M. Marubbi and C. Piastrella, L'estro e la realtà. La pittura a Crema nel Seicento, Milan 1997, pp. 64-87 Complete details of the work (click HERE) This high-quality painting is an eloquent emblem of the Baroque style, combining technical mastery, dramatic lighting and emotional depth in an image of great visual and symbolic impact, depicting St John the Baptist, an iconic figure of profound spirituality and devotion. The ascetic figure of the saint, lying immersed in a wild and isolated landscape, is complemented by his two canonical attributes, namely the lamb, the Christological symbol par excellence, and the shepherd's crook with the scroll, iconographic elements that enrich the work with profound theological meaning, making it particularly evocative. Great pictorial intensity has been reserved for the rendering of the figure, whose body exhibits defined musculature that expresses strength and austerity, in addition to the expression on his face, which conveys deep contemplation and spirituality. The skilful use of light and shadow enhances the volumes and creates an evocative atmosphere, while the colour palette, dominated by earthy tones, which then explodes into the vibrant red of the cloak, lends depth and drama. This painting is therefore not only a work of art, but a window onto a moment of reflection and spiritual connection, capable of enriching any environment with its imposing presence and eternal message. Ideal for collectors and lovers of sacred art, it offers a unique opportunity to own a piece of artistic history that is a source of great inspiration. The painting can be attributed to a skilled painter of the Lombard school active in the first half of the 17th century and, in particular, displays the main characteristics of the work of Tomaso Pombioli, the leading exponent of the Crema school of painting in the 17th century, from the composition to the palette, with a colour scheme halfway between the Cremonese and Venetian traditions, and the composition with the insertion of the landscape on the right, also reminiscent of the Venetian style. Particularly typical of the master is the lucid and wet rendering of the face of St John: his expression, with his languid eyes turned upwards in contemplation, adds an element of pathos and spirituality, which even today, as in the past, aims to elicit intense emotional reactions in the viewer. In this regard, we can mention one of the painter's most famous paintings, which, although secular in nature, fully incorporates the elements just described: it is the Portrait of a Musician with a Guitar, now in the Galleria dell'Accademia Tadini in Bergamo (https://www.lombardiabeniculturali.it/opere-arte/schede/S0010-00132/ ) ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame, a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

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

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

Sebastiano Conca (Gaeta 1680 – Naples 1764) circle Madonna and Child Oil on copper 26 x 20 cm In high-quality period frame 72 x 50 cm Full details of the work (click HERE) The work depicts the Madonna lovingly holding the sleeping Child in her arms, celebrating motherhood in an image of great simplicity and profound spirituality. The composition is pervaded by an aura of tranquillity and devotion, accentuated by the sweetness of the faces and the delicacy of the colour tones, with the light gently shaping the figures. These characteristics of the painting, combined with the graceful classicism of the composition and the elegance of the pictorial execution, lead us to attribute its authorship to an artist belonging to the late Roman Baroque period, active between the 17th and 18th centuries, to be identified among the pupils of Sebastiano Conca (Gaeta 1680 - Naples 1764). A Rococo painter of Campanian origin, active mainly in Rome in the 18th century, he had a very influential school. The painting is in good condition with a well-preserved pictorial surface. It is complete with a magnificent antique carved and gilded wooden frame, which perfectly complements and enhances the beauty of the painting. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

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

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

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

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

Anton Raphael Mengs (Aussig, 1728 - Rome, 1779) Workshop Portrait of a young girl with a book Oil on canvas 64 x 49 cm - Framed 77 x 63 cm Full details of the work (click HERE) The work, depicting a charming portrait of a young girl, can be attributed to a neoclassical painter of the Roman school active in the 18th century in the entourage of Anton Raphael Mengs (Aussig, 1728 - Rome, 1779). The subject is a young woman immortalised in a half-length portrait, dressed fashionably in a boat-neck dress with puff sleeves, adorned with a blue bow on the left sleeve and gold embroidery. She wears precious earrings composed of a large pearl from which three other teardrop pearls fall, while her hair is gathered in a hairstyle embellished with other simple but precious jewels. She is holding a quill and a notebook, suggesting an artistic or intellectual activity, reinforced by a composed expression and a direct, penetrating and introspective gaze towards the observer. The work reflects the 18th-century taste for the new vision of neoclassical art, which also embraced portraiture, abandoning the excessive and redundant aesthetics of the Baroque in favour of a return to the principles of balance, composure and serenity. with these principles, Mengs soon became famous and sought after, rivalling the older Pompeo Batoni (1708-1787) for the role of first painter of the capital. He moved to Rome in 1741 and quickly became an extraordinary portrait painter, the most highly paid and sought-after in Italy and in the European courts of the late 18th century, a point of reference for wealthy travellers on the Grand Tour who wanted to visit his studio in Via Sistina to commission their portraits. The pose and details of the dress and the lightened background, like a kind of aura around the figure, are all references to Mengs' style, rendered here with such lightness and confidence that we can attribute the work to an artist from his close circle or a pupil. The details and masterful execution are very similar to the master's works, including, by way of comparison, his self-portrait (fig. 1 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900099752 ), the Portrait of Johann Joachim Winckelmann (fig. 2 - Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/437067), or the Portrait of the Engraver Francesco Bartolozzi (fig. 3 - Lviv National Art Gallery, https://commons.wikimedia.org/wiki/File:Mengs_Portrait_Kupferstecher_Francesco_Bartolozzi.jpg), in which we can find the same technical skill as well as the same stylistic peculiarities and the same cut, which gives the subject an incredible immediacy of expression. In all these works, the subjects are holding books and objects alluding to their culture. The same shape and structure of earrings, extremely precious given the size of the pearls that compose them, can be seen in his portrait of Maria Luisa of Bourbon (https://catalogo.fondazionezeri.unibo.it/scheda/opera/64308/). In good condition with some restoration on the surface, complete with gilded frame (small losses). ADDITIONAL INFORMATION: The work is sold complete with certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 15-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

Ciro Ferri (Rome, 1634 – Rome, 1689) Attributed to Annunciation (probably a preparatory sketch) Oil on canvas 61 x 41 cm - In frame 79 x 49 cm Full details (click HERE) The work, certainly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, an episode from the Gospel set here with the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, portrayed with supernal beauty, and the Virgin; Here she is depicted absorbed in reading a prayer book with her eyes humbly lowered in devotion, while a small cherub hands her white lilies, symbols of purity and chastity. In the upper part of the composition is the austere image of God the Father, with the dove radiating light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering among the clouds filled with intense flashes and plays of light, in full Baroque style. An analysis of the stylistic and figurative characteristics of our painting shows that it belongs to the 17th-century Roman school, distinguished by its refined style and ability to blend the Baroque language, by definition opulent, with elements of classical influence. In particular, observing the iconographic characteristics and the drawing traits, we find it fitting to compare it to the style of Ciro Ferri (Rome 1633 - 1689), one of Pietro da Cortona's best pupils, who took up his mastery of drawing and colouring, but embraced a more classical and delicate style. The structure of the painting clearly shows that we are looking at a valuable preparatory sketch, presumably a study for a fresco or a larger altarpiece; this suggests that the final work was intended to decorate the span of a church or a private chapel. ADDITIONAL INFORMATION: The painting is sold complete with a nice frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

SOLD

Fantastic View With Port And Architectural Capriccio, Alessandro Salucci

Alessandro Salucci (Florence, 1590 - Rome, 1657) Fantastic view with port and architectural capriccio Oil on canvas (94 x 129 cm - framed 117 x 156 cm) The painting is accompanied by a critical report by Ferdinando Arisi Full details (click HERE) The scene, bathed in a striking morning light, depicts a fantastic harbour view dominated on the right by an imposing classical architectural structure, flanked by a Renaissance-style palace, while in the background we see the ruins of a portico punctuated by arches and Corinthian columns. The fascinating composition is enlivened by figures of merchants dressed in oriental fashion, waiting to resume their journey laden with goods. Professor Arisi recognises the style of the Florentine painter Alessandro Salucci (Florence, 1590 - Rome, c. 1660) who, after initially training in his hometown, moved to Rome at a very young age, where he soon began collaborating with established painters and specialising in the execution of imaginary architectural views, becoming one of the most significant vedutisti active in the Eternal City Specifically, our work can be traced back to the documented collaboration between the painter, a specialist in the creation of painted architecture, and the Flemish artist Jan Miel (1599 - 1663), who was active in Rome from 1636 and was one of the most famous artists of the “bamboccianti” movement, and who created the figures. His creations were strongly influenced by the art of Viviano Codazzi (1604–1670), with whom he was often confused, but they are distinguished by greater imagination, managing to blend the main Roman monuments with refined elegance. The element that makes his “capriccios” unique is the creative power with which he outlines the characters: he does not seek to represent buildings in an objective or realistic manner, and therefore his works are true architectural scenographies of pure fantasy. The ancient structures in his compositions, such as the arch in the background here, are not recorded in archaeological detail but are used exclusively for decorative effect. For comparison, see some paintings similar to ours in terms of quality and scenic setting, where we find the same compositional scheme with the same building on the side in the foreground serving as a backdrop, and the composition unfolding in a dynamic succession of multiple planes. Among these: (fig.1) A. Salucci, Marina with port, triumphal arch, buildings and figures (Arte Antica '95. Biennale di Antiquariato, 1995, p. 19) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54932/ (fig.2) A. Salucci, Fantasy view with Campo Vaccino and the Colosseum (Busiri Vici A., Architectural Fantasies by Alessandro Salucci, in Capitolium, 1962, 13) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54915/ (fig.3) A. Salucci/M. Cerquozzi, Marina with buildings, sailing ships and figures (Cincinnati Art Museum) https://catalogo.fondazionezeri.unibo.it/scheda/opera/54882/ (fig.4) A. Salucci/J.Miel, Ideal architecture with figures along the seashore, oil on canvas, 114 x 165 cm (Vienna Dorotheum, 17.10.2012) https://www.dorotheum.com/it/l/4560793/ (fig.5) A. Salucci, Meeting between Solomon and the Queen of Sheba (Banca Italia Collection) https://collezionedarte.bancaditalia.it/web/guest/-/alessandro-salucci ADDITIONAL INFORMATION: The painting is sold complete with a pleasant antique frame and accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Christ At The Column, Lombard School Of The 1500s

Lombard School of the 1500s Christ at the Column Oil on panel 24 x 21 cm - Framed 42 x 39 cm Full details (click HERE) The painting, rich in pathos and strong spirituality, depicts a moment from the Passion: it is “Christ at the Column”, a recurring iconographic subject in Christian art, representing Jesus bound during the flagellation, an episode narrated in the Gospels. The body of Christ, still bound within a prison cell, is portrayed here in full figure and modelled using strong chiaroscuro: this is a fine example of late Renaissance painting from the Lombardy area of northern Italy, reminiscent of 16th-century models and presumably based on a model by Giampietrino. A similar painting, larger in size, is kept in the Church of St. Alexander in Milan (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300014556). The “Christ at the Column” is an image laden with religious significance, evoking physical and spiritual suffering. We see him with an expression of quiet suffering; his acceptance of his fate is an example of mercy and divine love, a central message in Christian theology. The symbolism it contains is also interesting: the column itself represents not only the instrument of punishment, but also a symbol of stability and moral strength, which for the faithful represents the unshakeable faith of Christ. The window on the left, which plays a crucial role in illuminating the scene and emphasising the approach of the divine call, is also a symbol of openness to grace and the action of Christ. Finally, there is the red cloth that was used to wrap Christ, a symbol of his passion and the blood he shed, alluding to Christ's physical and spiritual suffering during his Passion. Although the iconography of “Christ at the Column” rarely features other characters, in our case, the presence of the Virgin Mary, albeit discreet, is interesting. She is not at his side but behind the bars, spiritually present in her son's suffering, highlighting the strong bond between mother and son, even during the most painful trial. ADDITIONAL INFORMATION: The work comes complete with a frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

Jacob de Heush (Utrecht 1657 – Amsterdam 1701) Coastal landscape with architectural ruins Oil on canvas (80 x 102 cm - In frame 100 x 119 cm) Provenance: Hampel Munich, 22.09.2016 lot 969 (link) Expertise by Prof. Ferdinando Arisi Full details (click HERE) The evocative landscape depicted here, which shows us the admirable blending of the Nordic and Italian landscape traditions, is a work attributable to the Dutch painter Jacob de Heush (Utrecht 1657 – Amsterdam 1701), one of the best vedutisti active in Rome at the end of the 17th century. It is emblematic of his painting style, with a coastal landscape embellished with classical architecture and the ruins of an ancient colonnade on the right, bringing it closer to the architectural capriccio genre. Jacob de Heusch moved to Rome from his native Utrecht in 1674, where he specialised in landscape painting, taking the works of Salvator Rosa as his model and skilfully combining the characteristics of the Dutch school, in particular the attention to realistic detail, with the more Italian imaginative and lyrical tradition of landscape representation. The resulting peaceful, idyllic mood became the hallmark of this artist, as we can clearly see in our painting. The figures are also typical, with some details appearing in other paintings by the artist, such as the woman with the child in the foreground, reminiscent of the woman riding a horse in the “Lazio Landscape” illustrated by Andrea Burisi Vici in his monograph on the artist (Rome, Bozzi, 1997, pp. 65, 121, cat. 22, ill. 39) and the man with his arms open not far from her, who can also be seen in the “Landscape with Waterfall” signed and dated 1693 (see, in the aforementioned volume, pp. 80, 81, 148, ill. 54, cat. 49). ADDITIONAL INFORMATION: Good condition, complete with gilded frame (not antique). The work is sold complete with certificate of authenticity and descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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

Antonio Joli (Modena, 1700 – Naples, 1777) Pair of views of Rome 1. View of Rome with Trajan's Column and the Church of the Holy Name of Mary 2. View of Rome (Piazza Colonna) with the Antonine Column, Palazzo Chigi and Via del Corso Oil on canvas 41 x 31 cm Framed 53 x 43 cm Details of the works (click HERE) The two views of Rome on offer are taken from a work created around 1740 by the engraver Giovanni Battista Piranesi (Mogliano Veneto, 1720 – Rome, 1778), who had always been fascinated by the antiquities of the Eternal City. In particular, they are taken from the collection entitled “Architetture e Prospettive” (Architecture and Perspectives), which included 135 views of Roman antiquities. It was a collection of plates depicting classical ruins and ancient monuments, which brought him great fame, thanks above all to the original and captivating perspective of the compositions and the unexpected choice of subjects. In our case, we have Trajan's Column, erected to celebrate the Roman conquest of Dacia (now Romania) by the emperor Trajan, whose highlights are evoked in its sculptural decoration. The monument is immortalised from the side of Trajan's Forum, with the large dome of the Church of the Name of Mary and Palazzo Bonelli behind it. The second painting depicts the Column of Marcus Aurelius, an ancient monument erected to celebrate the victories of the Roman emperor Marcus Aurelius (161-180) over the Danube peoples during the Marcomannic Wars. Still in its original location, it gave its name to the square where it stands today, Piazza Colonna, with Palazzo Chigi behind it. Paintings such as these were originally created as a kind of “souvenir”, intended in particular for British travellers who came to Italy during their Grand Tour, satisfying the picturesque expectations of tourists staying in the Eternal City. The author of our pair of paintings, which represent a transposition onto canvas of his creations, is certainly a talented painter active in Rome in the second half of the 18th century. Executed around the sixth decade of the 18th century, we can attribute their authorship to Antonio Joli (Modena 1700 - Naples 1777), presumably with the contribution of his workshop. Originally from Modena, he moved to Rome in 1720, where he had the opportunity to perfect his skills alongside Giovanni Paolo Pannini from Piacenza. Based on his repertoire, which frequently features Roman views of the most popular squares in Rome, the Tiber and the Forums, we know that he could not have overlooked the illustrious work of the Venetian Giovan Battista Piranesi. These views are distinguished by a marked sobriety in the choice of colours and an emphasis on architectural elements, often animated by small groups of figures. ADDITIONAL INFORMATION: The works are sold complete with two antique frames from the same period and are accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/