Galleria Castelbarco
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
  • Portrait Of A Knight In Armour, Venetian School, Early 17th Century
Portrait Of A Knight In Armour, Venetian School, Early 17th Century

4900 €


Venetian School, early 17th century Portrait of a knight in armour The inscription at the top, ‘MAR...DIT...VICO’, is only partly legible Oil on canvas. 81 x 71 cm. - Framed: 93 x 83 cm Full details of the painting (click HERE) A charming gentleman in armour, immortalised in an authoritarian and proud pose, is the subject of our portrait, of good quality and painted by an artist belonging to the northern Italian, Venetian culture of the early 17th century. Although emphasis is given to his role as a knight, the pose is regal, portrayed perfectly in profile, flanked by a plumed helmet resting on a table, while wearing rich ceremonial armour. Both in terms of composition and style of representation, the work is part of the long tradition of military portraiture typical of the 16th century, not far from the results achieved by Titian, with an elegant and mannerist mixture of styles, between his Venetian character, timid Tuscan influences and Nordic suggestions. Numerous stylistic clues link this painting to the figurative culture of Verona at the turn of the 16th and 17th centuries, and in particular to the work of Felice Brusasorci (Verona, 1539 – Verona, 1605), son of Domenico, who was active in Verona, Mantua and Vicenza. ADDITIONAL INFORMATION: The work is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In the event of the work being purchased by a non-Italian client, 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. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
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Viale Giovanni Prati, 39 ,
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Country: Italy
Tel.: +39 (0)349 4296 40
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Website: www.antichitacastelbarco.it
Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Barend Cornelis Koekkoek (Middelburg 1803 – Cleves 1862) attributable Wooded landscape with stream oil on canvas 72 x 91 cm - framed 93 x 113 cm https://www.antichitacastelbarco.it/en/product/paesaggio-boscoso-con-ruscello This evocative wooded view with imposing oak trees crossed by a stream and a couple of travellers resting near a small bridge is a work executed with quality and skill in detail, attributable to the Flemish artist Barend Cornelis Koekkoek (1803 – 1862). He achieved international fame as one of the most important landscape painters of his generation, known for his romantic views, caressed by a particular golden light, which earned him the nickname “Prince of Landscape Painting”. The painter carefully studied 17th-century Dutch landscape painters, revealing a careful study and synthesis of his predecessors; in particular, his main source of inspiration was the work of Jacob van Ruisdael (Haarlem 1628 - Amsterdam 1682), so much so that he could be described as his follower. He often reproduced already famous works, considering them akin to his own sensibility, as in our case the landscape entitled “Oaks along a stream” painted around 1670 by Jacob van Ruisdael, at the time part of the collection of King Maximilian I Joseph (now in the Alte Pinakothek in Munich). LINK: https://www.sammlung.pinakothek.de/en/artwork/5RGQ17jGz3 We know that Koekkoek revisited this particular subject several times: one of these versions, signed and slightly smaller, was sold at Clars Auction Gallery in Oakland (auction of 15 September 2019, lot 762, estimate: $12,000 - 15,000, link: https://live.clars.com/lots/view/1-2786AG/painting-barend-cornelis-koekkoek?utm_source=mutualart&.... Koekkoek's works were recognised and appreciated throughout Europe and the artist was awarded gold medals at the Paris Salons, boasting important European royal families among his patrons, including the heir to the Dutch throne, Prince William II, King Frederick William IV of Prussia and Russian Crown Prince Alexander, who amassed a large collection of the artist's works. Magnificent romantic landscapes form the core of his work, and even today, his paintings are highly regarded for their lively composition and nostalgic atmosphere, in which the Dutch golden age seems to persist. Just as he was during his lifetime, Koekkoek is widely considered the most skilled landscape painter of Dutch Romanticism. His landscapes, especially those signed, fetch very high prices. For example: - Christie's New York, 17 January 2023, Wooded Landscape with Travellers near a Stream https://onlineonly.christies.com/s/european-art/barend-cornelis-koekkoek-dutch-1803-1862-36/174071 - Sotheby's New York, 22 May 2025, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2025/master-paintings/wooded-landscape-at-dusk - Sotheby’s New York, 27 January 2022, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2022/the-european-art-sale/a-wooded-landscape-with-grazing-c... - Lempertz Cologne, 14 November 2015, Landscape with trees and cows near a stream https://www.lempertz.com/en/catalogues/lot/1057-1/1643-barend-cornelis-koekkoek.html 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. 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/
Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Agostino Carracci (1557-1602) Circle of Andromeda and the Sea Monster Oil on canvas 75 x 59 cm. - In frame 96 x 77 cm. Full details of the work (click HERE) The subject of the painting, derived from Ovid's Metamorphoses, is inspired by the myth of Princess Andromeda, daughter of King Cepheus of Ethiopia and Queen Cassiopeia, who, tied to a rock, is about to be attacked by a sea monster sent by Poseidon at the request of the Nereids. The heroine's misfortune was to have a mother who praised her own beauty as superior even to that of the Nereids, the sea nymphs who were daughters of the god of the sea. According to mythology, the young woman was therefore chained to a rock and offered as a sacrifice to the terrible monster sent to appease the wrath of the nymphs, who were offended by Cassiopeia's unforgivable pride. This myth was very popular in Roman Baroque painting, often commissioned as a subject to decorate the sumptuous private rooms of the aristocratic palaces of Rome. Despite her Ethiopian origins, Andromeda is immortalised with white skin, a detail that was intended to appeal to the tastes of the patrons of the time, who would certainly not have appreciated a black-skinned figure as a beauty to be admired. Considering the context, the canvas seems to have been created to offer the observer an image of a female nude in an extremely sensual, almost erotic pose, as an object of pleasure for aristocratic patrons of the 16th and 17th centuries, who delighted in owning such compositions and displaying them in their collections. The work, which can be attributed to an artist active in Rome in the 17th century, draws direct inspiration from an engraving by Agostino Carracci, dating from around 1590 (fig. 1, https://www.britishmuseum.org/collection/object/P_U-2-154). The beautiful maiden is depicted according to an iconography particularly dear to artists of the period, with a pose reminiscent of classical goddesses, completely naked and chained to a rock and, just as described in Ovid's words, highly sensual. “As soon as he (Perseus, her liberator) saw her bound by her arms to the hard rock, had it not been for a slight breeze moving her hair and the warm tears flowing from her eyes, he would have thought her a marble statue... without knowing it, he was set ablaze and remained astonished and enraptured by the image of beauty he saw...” (Metamorphoses IV, vv. 672-683). 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. 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/
Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Flemish painter of the 17th/18th century Portrait of Augustus, first Roman emperor Oil on canvas 61 x 49 cm Framed 77.5 x 65 cm Full details of the painting (click HERE) The portrait depicts Augustus, founder and first emperor of the Roman Empire, as indicated by the radiate crown symbolising his divinity: his birth name, Gaius Octavius, was in fact given the title “Augustus” by the Senate, meaning “venerable” or “protected by the gods”, a title later adopted by all his successors. The portrait depicts him with an idealised and youthful face, with the intention of giving him an essence of eternal youth. The facial features, inspired by the sculptures of the time dedicated to him, such as the shape of the chin and nose, combine the realism of republican portraiture with the idealised forms of classical tradition. Founder of the Roman Empire, he ruled from 27 BC until his death in 14 AD and is considered one of the most influential figures in history, having transformed the Roman Republic into a principality. The portrait shown here is based on a painting by the Flemish painter Cornelis van Haarlem in 1622, now in the collection of Caputh Castle (https://www.spsg.de/en/palaces-gardens/object/caputh-house), near Potsdam, which was the summer residence of the Electors of Brandenburg from the end of the 16th to the end of the 17th century. The painting also became famous thanks to the dissemination of the print by Johann Friedrich Leonard (1633-1680), a copy of which is now in the “Staatliche Kunstsammlungen” in Dresden. Imm1. - Cornelis van Haarlem (1562-1638), Portrait of Emperor Augustus, Caputh Castle Collection Source: Zeri Foundation Catalogue: https://rkd.nl/images/778 Imm2. - Engraving of Emperor Augustus, by Johann Friedrich Leonard (1633-1680), Staatliche Kunstsammlungen Dresden Source: https://skd-online-collection.skd.museum/Details/Index/969560 This painting is part of a series of portraits dedicated to Roman emperors, originally commissioned by Prince Maurice of Orange, Stadtholder of the Netherlands, and then passed into the possession of the Grand Elector in 1680. These works, specifically the first twelve Roman Caesars, were created between 1616 and 1625 by various Dutch and Flemish painters, including Rubens, Hendrick ter Brugghen, Michiel van Mierevelt, and Dirck van Baburen (see image in the details of the room in the Castle where the collection of Caesars is kept). 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. 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 additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation Florentine painter, 17th century Alessandro Allori (Florence, 1535 – Florence, 1607) circle Oil on canvas, with gold highlights 131 x 173 cm In frame 144 x 187 cm Full details of the work (click HERE) A splendid canvas celebrating the theme of the Annunciation, the moment when the archangel Gabriel brings Mary the news that she will give birth to the Son of God, according to a typology that was very popular from the late 16th century to the first half of the following century. On the left, the Archangel Gabriel is depicted with his hands crossed over his chest, caught in the moment of the supreme announcement, with his eyes half-closed in an attitude of devotion. Before him is the Virgin Mary, seated on a chair that resembles a throne, as she looks up towards the dove of the Holy Spirit. The divine light is represented by golden rays emanating from God the Father, at the top left, and from the mouth of the dove, directed towards the Virgin, humble and submissive, who, as if in a mirror, responds with the Latin phrase: “Ecce Ancilla Domini” (behold the handmaid of the Lord), thus accepting God's will. The canvas shows superb execution, embellished with gold finishes that highlight the figures, and numerous details rendered with extraordinary skill: from the wooden throne decorated with geometric motifs, to the lace curtain, probably made with a bobbin, which separates the area behind, to the carpet defined in the smallest knots. Another element worthy of mention is the rendering of the faces, both characterized by an ethereal beauty emphasized by the whiteness of the complexion, as well as the angel's wings and the Virgin's crown, embellished with precious stones and macaroni. Next to the Madonna is a cushion with an open book, symbolizing the Old Testament: according to medieval tradition, the angel surprised Mary deep in prayer, reflecting on the biblical passage in which the prophet Isaiah foretells the future coming of the Messiah on Earth: “Ecce virgo concipiet, et pariet filium, et vocabitur nomen eius Emmanuel” (Behold, the Virgin shall conceive and bear a son, and shall call his name Emmanuel) (Isaiah 7:14). The work is inspired by the famous fresco in the Basilica of Santissima Annunziata in Florence (see image in details, fig. 1), painted around 1250, and displays stylistic features that unquestionably place it within the Florentine figurative culture of the 17th century. More precisely, we can trace its author to the circle of the Florentine Alessandro Allori (Florence, 1535 – Florence, 1607) who, like many Florentine artists of his time, made numerous copies of the fresco, either complete or partial, commissioned by the grand ducal family and Florentine noble families as objects of private devotion or gifts to be sent to eminent personalities, or at the request of foreign patrons. Among these, we can mention the small painting on copper, signed and dated by Alessandro Allori in 1606, now in Palazzo Pitti in Florence (fig. 2). The Museo del Duomo in Milan also has a copy of the painting by Allori himself from 1579, commissioned by Francesco I de' Medici as a gift for Cardinal Federico Borromeo. There is also the Annunciation attributed to Allori on display in the choir of the Monte dei Cappuccini (fig. 3), the one in the Museo San Domenico in Bologna (fig. 4), and finally the one kept in the Civic Museum of Spello in Perugia (fig. 5). From the collection of the municipality of Florence, we can also mention the Annunciation attributed to Cristofano Allori (fig. 6). Fig. 1: https://it.wikipedia.org/wiki/File:Annunciation_-_Santissima_Annunziata.jpg Fig. 2: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900297026 Fig. 3: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900620035 Fig. 4: https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=263428&force=1 Fig. 5: https://dati.beniculturali.it/lodview-arco/resource/HistoricOrArtisticProperty/1000138769.html Fig6: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900227307 ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organize 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 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/
The Rape Of Europa, Francesco Albani (bologna 1578 - 1660) Follower Of

The Rape Of Europa, Francesco Albani (bologna 1578 - 1660) Follower Of

Francesco Albani (Bologna 1578 - 1660) Follower of The Rape (or Abduction) of Europa Oil on panel 44 x 53 cm with gilded wooden frame (19th century) 61 x 71 cm Full details of the work (click HERE) The work depicts an episode from Greek mythology recounting one of Jupiter's many amorous adventures: the abduction of Europa, daughter of the king of Tyre, a city in Phoenicia, as described by the Latin poet Ovid in his Metamorphoses (Met. II, vv. 846-875). The work can be attributed to an artist who followed the stylistic and compositional models of Francesco Albani (Bologna 1578 - 1660), who was active among his followers between the 17th and 18th centuries. A disciple of Annibale Carracci, Albani is considered, along with Domenichino and Guido Reni, one of the leading exponents of Bolognese classicism, which was in great demand among the cultured patrons of the time. Thanks to a style characterised by idyllic compositions that were therefore pleasing to the most intimate tastes of the patrons, the majority of the Albani workshop's production can be found in mythological paintings. Looking at the painting in detail, we see the exciting moment when Zeus, having transformed himself into a beautiful white bull, kidnaps the beautiful Phoenician princess Europa and flees to the island of Crete. The girl, dressed in a long deep blue robe, is overwhelmed by the event and turns her gaze towards her maidservants still on the shore. She holds on to the horns of the bull, which runs impetuously through the rough waves of the sea, while four fluttering cherubs help the cunning Zeus in his endeavour: one supports the princess, another holds the reins of flowers, and another holds a fluttering red cloth, a device often used by Albani to emphasise movement. The composition, in particular, draws inspiration, albeit with variations, from the Rape of Europa preserved in the Uffizi Gallery, created by Albani in 1639 for Count Angelo Oddi of Perugia (https://it.m.wikipedia.org/wiki/File:Rape_of_Europa_-_Francesco_Albani.jpg). Many versions were based on the Uffizi version, as the canvas remained in Albani's workshop for a long time, including the one in the Roman collection of Marquis Patrizio Patrizi, and the versions in the Louvre and the Colonna Gallery in Rome. These compositions were hugely successful with critics and were highly praised by European collectors for their aesthetic and decorative value. In our case, the canvas is accompanied by a pleasant 19th-century carved and gilded wooden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Paolo Porpora (naples, 1617 - Rome, 1673), Still Life With Vase Of Flowers

Paolo Porpora (naples, 1617 - Rome, 1673), Still Life With Vase Of Flowers

Paolo Porpora (Naples, 1617 - Rome, 1673) Still Life with Vase of Flowers First half of the 17th century Oil on canvas 67 x 49 cm. - Framed 88 x 69 cm. Provenance: Finarte Milan, 17/12/2001, Lot 288, Estimate: €36,400 - €46,800 (ITL 70,000,000 - ITL 90,000,000) Critical notes: Expertise Ferdinando Bologna (18 September 1994) Dear Sir, I have examined the original painting in your possession depicting a still life with a vase of flowers (oil on canvas, 67 x 49 cm), and I believe it to be an authentic work by the 17th-century Neapolitan painter PAOLO PORPORA (Naples, 1617 - Rome, 1673). This work represents Porpora's pure florist style, which is rarer than his depictions of undergrowth with frogs, lizards and snakes. In the sense of a pure florist, moreover, the painting is not linked to the preferences that Porpora developed mainly during his later Roman period, but to his earlier ones, still in the Neapolitan period, providing beautiful evidence of his ties with the master Giacomo Recco, in whose workshop he entered when he was only fifteen years old. Going into chronological detail, this work is linked to masterpieces by the master such as “Still Life with Flowers, Fruit and Birds” in the Capodimonte Museum in Naples, which undoubtedly dates from no earlier than 1645-50 and documents the painter in an already mature and personal phase. Nevertheless, the painting dates back to an earlier period, unaffected by the influences of the Dutch painters Otto Marseus van Schrieck and Matthias Withoos, whom he met in Rome at a later date and who would profoundly influence his style, leading him to depict wonderful undergrowth, evoking its mysterious nature to the fullest. The work can therefore be dated to Naples in the early 1640s, before these Flemish influences, when Porpora was still inclined to interpret the models of the Neapolitan Giacomo Recco in modern terms, distinguishing himself for the intense naturalism with which the colourful corollas are depicted in the different stages of flowering, suggesting the passionate study from life that marks the beginnings of the genre. In more traditional still lifes, such as the one shown here, among which the “Still Life with Flowers, Melons and Crystal Cup”, also from the Capodimonte Museum in Naples (https://catalogo.fondazionezeri.unibo.it/scheda/opera/90042/), stands out, Porpora demonstrates his naturalistic nature but also a fervent imagination and compositional delicacy, aided by an excellent chromatic refinement and direction of twilight. These qualities can be clearly seen in the canvas presented here, whose atmosphere is enlivened by the presence of the refined historiated vase. The work is of very high quality and is in excellent condition. **Finarte Milan, 17/12/2001 (Antique furniture and paintings), Lot 288 - Source: Artprice ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
SOLD
Francois Boucher (paris, 1703 - 1770) School Of, Playing Cherubs And Cupids

SOLD

Francois Boucher (paris, 1703 - 1770) School Of, Playing Cherubs And Cupids

Francois Boucher (Paris, 1703 - 1770) School of Playing Cherubs and Cupids Second half of the 18th century Oil on panel “en camaieu” (monochrome) in purple 49 x 38 cm with frame 56 x 45 cm. Full details directly at the following LINK The painting we are presenting, depicting a playful group of cherubs and cupids, is rendered in the particular decorative technique called “en camaieu” (literally monochrome), achieved using different shades of the same colour, in this case purple. It is a work of great elegance and chromatic charm, created in the light and frivolous spirit of French Rococo. The painting is based on the compositional models of the French painter François Boucher (Paris, 1703 - 1770), an artist much appreciated at the court of Louis XV and known for his scenes inspired by mythology, often reinterpreted in a sensual and decorative key. Boucher used this technique on numerous occasions, for example in the decorations of the Cabinet du Prince in the library of the Hôtel de Soubise in Paris, where two monochrome blue paintings depicting small cherubs as allegories of Hunting and Fishing are set in the upper corners of the hall (see photo in detail). The subject is expressed in a triumph of the canons of the Rococo period, the most delicate, light and at the same time elegant of styles, capable of interpreting in painting the peculiarities of French society under the Ancien Régime: the composition, with cherubs arranged on clouds and surrounded by flowers, is characteristic of Rococo aesthetics, which favours light, decorative and often sensual scenes. Francois Boucher and his workshop devoted much of their activity to this type of subject, the symbol par excellence of the frivolous pleasures of life to which the aristocratic class aspired, thanks to the great fame of the master and the copious requests from collectors. Our work, which can be dated to the second half of the 18th century, can be attributed to a pupil or follower active shortly after the French painter. Often these works were not canvases to be exhibited, but part of a larger decorative project, designed to blend harmoniously with the furnishings of a Rococo setting, presumably a series of works placed in the boiserie or as a mantelpiece. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this operation are included. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Susanna And The Elders, Giovanni Segala (venice 1663 - Murano 1720)

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

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

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

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

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

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

SOLD

Christ In Jerusalem, italian school of the 17th century

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

Saint Catherine, Lower Rhine, Circa 1480

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