Galleria Castelbarco
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
  • Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)
Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)

9800 €


Portrait of Charles I, King of England (1600-49) Anthoon van Dyck (Antwerp 1599 - London 1641) Follower of Oil on canvas 93 x 86 cm - Framed 131 x 124 We are sharing a valuable work, an oil on canvas painting of the famous 'Portrait of Charles I of England on Horseback' by Anthoon van Dyck (Antwerp 1599 - London 1641) painted in 1633; it is a masterpiece of Baroque art that stands out for its majestic composition still belonging to the British Royal Art Collection and housed in Windsor Castle (image 1). In 1632 Van Dyck arrived in London, where he was elected court painter to King Charles I Stuart, King of England, his main patron and at the same time a great collector sensitive to contemporary art. In addition to the sovereign's boundless love for art, Charles also saw it as a powerful means of political propaganda, especially in the difficult years just before the civil war. Van Dyck portrayed the sovereign on numerous occasions, both surrounded by his family, with his wife Enrichetta, and alone. The most ambitious are undoubtedly the paintings of the equestrian series, where the artist offered a proud and majestic image of an absolute monarch: in addition to the painting mentioned above, Van Dyck painted two other important portraits of the king on horseback: 'Charles I on Horseback' (1636, National Gallery, London), 'Le Roi à la Chasse' (c. 1635, Paris, Louvre) These portraits see Charles I on horseback on an unprecedented scale, as sovereign, warrior and knight, in the long tradition of ancient and Renaissance equestrian monuments. And our canvas echoes its structure, although it makes several personalisations, with the ruler riding through a triumphal arch, wearing parade armour and holding the baton of military command while riding a splendid white horse. These elements, in addition to the display of the great coat of arms bearing the symbols of the Stuart royal dynasty, reinforce his image as the ruler of Great Britain, while the king's refined features, loose hair and gentle, thoughtful expression convey the impression of a chivalrous knight. We are of the opinion that the painting presented here, finely executed with its effective composition, is the work of a Flemish artist, active between the 17th and 18th century, to be found among the followers of Anthony van Dyck, who masterfully reworked his masterpiece; The success of the work favoured its widespread diffusion, so much so that numerous paintings are known to have been executed by artists from Van Dyck's circle/shop or active at a time immediately after the canvas was created, to please some patrons who wished to have the effigy of the monarch for their residences as a clear sign of loyalty to the sovereign dynasty. imm.1 Antoon van Dyck, Portrait of Charles I with M. de Saint-Antonie his riding master, 1636, oil on canvas, 370 x 270 cm, Windsor Castle Url: https://www.rct.uk/collection/405322/charles-i-1600-1649-with-m-de-st-antoine Conservation status: the painting is in a good state of preservation with some restoration present near the background landscape ADDITIONAL INFORMATION: The work sold is complete with a beautiful frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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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Venus With The Two Loves (eros And Anteros), Pietro Liberi (padua 1605 - Venice 1687)

Venus With The Two Loves (eros And Anteros), Pietro Liberi (padua 1605 - Venice 1687)

PIETRO LIBERI (Padua 1605 - Venice 1687) Venus with the Two Loves (Eros and Anteros)  (LINK)  Oil on canvas 133 x 165/ 110 x 142 cm Critical apparatus: Expertise by Emilio Negro Provenance: Langenstein Castle (Halberstadt, Saxony)* Koller Auctions 27 March 2015, lot 3037 (as Marco Liberi), CHF 30,000/50,000 - see photo *The canvas came from Germany, specifically from Langenstein Castle (Halberstadt, Saxony) where it was part of the rich art collection of paintings acquired by Maria Antonia Pessina de Branconi (1746-1793), mistress of Crown Prince Charles William Ferdinand of Brunswick. After 1945, when the Soviets occupied the castle, it passed into the state collection of the Kunstmuseum Moritzburg Halle (inv. NO. 1085, from 1958), and was later returned to the family's heirs. Description: The fascinating subject of our canvas, probably intended to adorn the alcove of an aristocratic residence, depicts the goddess of beauty, Venus, accompanied by her two young sons, Eros better known as Cupid, and the younger Anteros, both Greek gods of Love. According to the myth, Venus, distressed to see that her son Cupid always remained a child, listened to the advice of the wise Prometheus, according to whom the god of love would never grow up until he knew the love of a brother. Aphrodite thus gave birth to Anteros and from that moment on, the two brothers grew up together. Eros, who represents physical and passionate love, can therefore only enjoy adulthood when he is close to Anteros, who represents requited love; without him, therefore, he physically becomes a child again. Cupid retains the task of shooting his arrows to ignite passion and drive towards the pursuit of beauty, Anteros to protect the love that has been reciprocated. The canvas can also be seen as a splendid allegory of Love in its most complete form, which needs to be corresponded in order to exist and grow. Having examined and duly examined the iconography, we now move on to an attributive analysis, linking its authorship to the hand of the Paduan painter Pietro Liberi, a brilliant man of the world and a painter of great talent, a disciple of Padovanino, as well as the father of another important painter and epigone, Marco Liberi (to whose hand the canvas was previously erroneously referred). Undoubtedly one of the most talented artists active at the height of the 17th century, in the course of his life as an adventurous traveller - he was in Constantinople at the age of sixteen, was then taken prisoner on the island of Mytilene, chained and transferred to Tunis, from where he managed to escape to Sicily - he produced important fresco cycles as well as altarpieces and numerous easel paintings of a profane nature; The latter compositions are particularly similar to the one in question and highly sought after and appreciated by contemporary collectors for their elegantly sensual and erotic subject matter. His painting training was shaped by the study of the old masters that Pietro Liberi studied during his travels between Rome, Florence, Bologna and Venice, where he moved permanently in 1643 and where he obtained highly prestigious positions. All this can be seen in his painting, which, at the height of the 17th century, recovers the grandiose and monumental forms of Roman and Tuscan Mannerism. The fusion of the Venetian and central Italian manner achieves a seductive union in this work: if the complexion of the discreet woman in the foreground, her explicit sensuality, recalls masterpieces from Titian to Veronese, the pose of the reclining body seems to echo Michelangelo's ideas. In the not inconsiderable panorama of perturbing female nudity offered by Liberi, the Venus we present here can certainly be included among the most successful and sensual: the delicate complexion of the goddess of Love is impressive for its freshness and naturalism. ADDITIONAL INFORMATION: The work sold is completed by a beautiful frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/        
Philip V, King Of Spain And Louise Of Savoy, Circle Of Pierre Gobert (1662 - 1744)

Philip V, King Of Spain And Louise Of Savoy, Circle Of Pierre Gobert (1662 - 1744)

Circle of Pierre Gobert (Fontainebleau 1662 - Paris 1744) Pair of portraits Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Portrait of Queen Louise of Savoy (1688-1714), Savoy princess and first wife of Philip V of Spain Oil on panels applied to canvas (2) 41 x 33 cm. in antique frame 50 x 42 cm. It is easy to identify the sitters of this fascinating pair of portraits with the rulers Philip V of Bourbon (Versailles, 1683 - Madrid, 1746) King of Spain, with Maria Luisa of Savoy (Turin, 1688 - Madrid, 1714), Savoy princess and his first wife. Crowned king in 1700, at the behest of his predecessor Charles II of Habsburg, he adopted for a few years in his portraits the clothing of 17th-century derivation, still in use at the court of Madrid, with clear legitimising intentions: he therefore exhibits the black satin costume with wide sleeves and wears the stiff white Spanish collar. At the same time, she wears the blue sash of the Order of the Holy Spirit and the collar of the Habsburg Order of the Golden Fleece: this meeting of the two main orders of France and Spain announced the possibility of a union between the two crowns. The Queen, the third daughter of Victor Amadeus II of Savoy, Duke of Savoy and future King of Sicily, and his wife Anne Marie de Bourbon-Orléans, is also portrayed smiling and facing the viewer; she wears a wig with her hair gathered around the nape of her neck and a diadem on her head, and wears a sober dark dress on the same principle as her husband. The style of execution of the two portraits falls within the typical production of Pierre Gobert (Fontainebleau 1662 - Paris 1744), one of the most significant and sought-after portrait painters of his time and a great interpreter of the French school, working in France at the courts of Louis XIV and then Louis XV. During his career he obtained a large number of commissions, with a volume of work that implied the existence of a complex workshop: it is therefore plausible to assume that these paintings were executed by one of his direct collaborators, active in the early 18th century. The pair of works is presented in a very good state of preservation, with beautiful carved and gilded wooden frames, also in excellent condition. ADDITIONAL INFORMATION: The paintings are sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. In case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes about 10/20 days; our gallery will take care of the whole phase until it is obtained. All costs of this procedure are included. Contact us for any information, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Adriaen De Gryef (leiden 1657 -brussels 1722) Signed, Still Life Of Animals And Fruit

Adriaen De Gryef (leiden 1657 -brussels 1722) Signed, Still Life Of Animals And Fruit

Adriaen de Gryef (Leiden 1657 - Brussels 1722) Signed ‘A Gryeff f’(ecit) - centre left Peasant in the courtyard with still life of animals and fruit Oil on canvas Dimensions (cm): 45 x 60 In antique frame 74 x 88 Work published in the RDK (Netherlands Institute for Art History) archive: https://rkd.nl/images/6309 A peasant immortalised in the courtyard of his farmhouse, playing a flute while leading the goats back to the farm; around him a rich still life piece with freshly harvested vegetables, some placed on a cart, two pheasants hanging and ready to be cooked and various scattered kitchen objects. The painting is signed, on a barrel in the lower left-hand corner, by the well-priced Flemish painter Adriaen De Gryeff, active as a picture dealer in Ghent and Antwerp in 1687, a member of the artists' guild in 1699 and then in Brussels, famous for this type of scene related to the Flemish seventeenth-century rural countryside. The work is published in the RKD archive, together with others by the author, the comparison with which is easy to identify the common features of his production. In fact, there are many works that resemble our composition, although each one is different. Among them: - Peasant Woman with a Rooster in Her Hand https://rkd.nl/images/19676 Imm.1 - Farmyard with a peasant woman and a cat in a still life https://rkd.nl/images/3318 Imm.2 - Farm still life with a man smoking a pipe on the left https://rkd.nl/images/19576 Imm.3 - A man and a woman picking a chicken in the farmyard https://rkd.nl/images/19682 Imm.4 - Farmyard with wheelbarrow full of vegetables, pottery and hunting booty https://rkd.nl/images/20055 Imm.5 - Farmyard with maid and donkey https://rkd.nl/images/19712 Imm.6 The subject matter is more typical of de Gryeff, who specialised in small paintings with picturesque subjects often depicting animals in the open air, often set in rural landscapes; the painter shows us here his technical mastery and daring facility in the depiction of animals, but also his skill as a naturamortist. These works were habitually collected by royalty and aristocrats, who loved to decorate their country houses. Even today they can be found in many illustrious collections, such as Schloss Schleissheim (Bayerische Staatsgemäldesammlungen), the Kunstmuseum in Basel, the Musée des Beaux Arts in Marseille and the Royal Museums in Brussels. Other good examples in museum collections are Grijef's works in the Fitzwilliam Museum, Cambridge and the Ashmolean Museum, Oxford. ADDITIONAL INFORMATION: The work sold is completed by a gilt frame showing signs of restoration and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/
Christ And The Adulteress, Workshop Of Lorenzo Lotto (venice, 1480 - Loreto, 1556/1557)

Christ And The Adulteress, Workshop Of Lorenzo Lotto (venice, 1480 - Loreto, 1556/1557)

Workshop of Lorenzo Lotto (Venice, 1480 - Loreto, 1556/1557) Attributed to Durante Nobili or di Nobile (Caldarola, 1509/1510 - Montolmo, before 1593) Christ and the Adulteress Second half of the 16th century Oil on canvas Dimensions: 104 x 135 cm./ Framed 130 x 158 cm. Provenance: Tuscan private collection Expertise of Prof. Emilio Negro (Bologna) We share this valuable work of great collector's value, an oil on canvas painting of the famous ‘Christ and the Adulteress’ painted in numerous versions by Lorenzo Lotto between 1527 and 1529, of which there are at least two autographs, one preserved in the Museo Pontificio Antico Tesoro della Santa Casa di Loreto (imm.1, canvas, 105 x 132 cm), the other in the Louvre Museum in Paris (canvas, 124 x 156 cm), as well as others attributed to the workshop, such as the one in the Galleria Spada in Rome (imm.2, canvas, 104 × 131 cm), very similar to our work. Lorenzo Lotto chooses in his composition to depart from the usual iconography of the Gospel episode (John 8:1-6), dwelling on the moment of reflection that preceded the famous passage: ‘Let he who is without sin cast the first stone’. The unclothed woman, caught in flagrante delicto of adultery, taken by the hair is brought before Christ to dispute the penalty of stoning imposed on the sinner by the law of Moses. The latter, irradiated by the whiteness of the light that the painter casts on her flesh, appears beautiful and elegant, if visibly suffering, surrounded by the morbid wickedness of the crowd. The solemn and hieratic figure of Christ is placed in the centre of the canvas, expressing himself through his own firm gestures, with his right arm raised to interdict the arrogant human chatter, and as if he wanted to protect the woman, while with his left hand he expresses the inverted sign of blessing, with his fingers pointing downwards. The firmness of his figure, with its penetrating gaze, invites one to associate the humiliation of the adulteress with the future suffering of the one who offers himself as a sacrifice for the sins of men; Among the bystanders, on the left, one can distinguish, from the peculiar headgear and the physiognomic accentuation of somatic features, a group of Pharisees, among whom stands out a richly dressed old man, caught in the gesture of ‘disputatio’, emphatically listing the faults of the woman. It is interesting to note how, in the gestures and theatricality of the characters, as well as in the invention of the figures compressed into the foreground, there is a re-evocation of Leonardesque and Nordic models, from Durer to Cranach. Having analysed the details of the iconography, let us now turn to the style of execution that reveals the undoubted and close relationship with that of the great Venetian master. In particular, it reveals the modus operandi of one of his main pupils, namely that of Durante di Nobile or Nobili (Caldarola, 1509/ 1510-4 Montolmo, before 1593), his close collaborator at the time of his important stay in the Marche. Nobili's professional relations with Lorenzo Lotto are documented from 1548 onwards, with numerous instances of four-handed collaborations to satisfy requests from monastic orders and the aristocracy of the more secluded papal province. Among the many works produced together with the Venetian master, we can name the Assumption for S.Francesco alle Scale in Ancona and the decoration of the frame of a lost S.Girolamo painted for Cardinal Pio da Carpi. The fame he acquired with his painting then also allowed him an excellent independent career, which we can place between 1562 and 1570, although the warm chromatic intonation of this ‘Christ and the Adulteress’ allows us to attribute it to Nobili in credible collaboration with the great lagoon painter, as a comparison with his production shows, in which he was able to infuse a creative intensity of good evocative and psychological force, even in the observance of Lotto. Imm.1: Lorenzo Lotto, Christ and the Adulteress, Museo - Antico Tesoro Santa Casa, Loreto URL: https://lorenzolottomarche.it/itinerario/loreto/cristo-e-ladultera-1548-1550 Imm.2: Lorenzo Lotto (anonymous workshop), Christ and the Adulteress - Galleria Spada, Rome URL: https://catalogo.fondazionezeri.unibo.it/scheda/opera/49665/Anonimo%20sec.%20XVI%2C%20Cristo%20e%20l... N ADDITIONAL INFORMATION: The work sold is completed by a beautiful frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/
Still Life With A Crystal Goblet, Hubert Van Ravesteyn (dordrecht 1638-1683) Workshop/circle

Still Life With A Crystal Goblet, Hubert Van Ravesteyn (dordrecht 1638-1683) Workshop/circle

Still life with a crystal goblet and a painted ceramic jug Hubert van Ravesteyn (Dordrecht 1638-1683) workshop/cerchia Flemish painter, mid 17th century Oil on canvas 59 x 74 cm. - Framed 74 x 88 cm. Provenance: Hampel Munich, 29.06.2023, lot 1017 https://www.hampel-auctions.com/a/Maler-des-17-18-Jahrhunderts.html?a=136&s=877&id=578227 The composition offers us a typical Flemish still life of the 17th century where, carefully arranged starting from the left edge of the table partially covered by a cloth, we can admire, in order, a magnificent Venetian crystal goblet, a plate with bread, a painted porcelain jug with a silver lid; on the right instead, a selection of fruit and vegetables, with apples, beets and a large cabbage in a woven basket, while on the table are two pears and some chestnuts. The stylistic and compositional characteristics of the painting led us to identify its author in the orbit of the Flemish painter Hubert van Ravesteyn (Dordrecht 1638-1683), whose painting is very identifiable, with a mixture of realism and abstraction that convey a unique and fascinating feeling. Going into specifics, he uses a careful arrangement of individual objects in his compositions to create a feeling of balance and harmony. His use of space is also remarkable, as the elements of emptiness highlight the beauty of the objects. This artwork is a perfect example of the artist's ability to capture the beauty of everyday, non-artefactual objects through painting. It looks like a photograph of a table from a 17th century Dutch family, without too many frills. The work also has an allegorical meaning, as is often the case with this kind of composition, their reading invites us to see a kind of emblem that conveys a moralising message. The sobriety of the composition, consequently, refers to the concept of morality, which takes on particular significance when associated with the foodstuffs represented (first and foremost bread) as well as the robust jug. The only detail that we could define as out of the chorus is the fine crystal cup, placed not by chance by the author off-centre on the left, which alludes to the caducity of worldly pleasures, in contrast to the rest of the depiction which, on the contrary, refers to the stability of the spiritual sphere. ADDITIONAL INFORMATION: The work sold is completed by a nice frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/
Guido Reni (1575 - 1642) Workshop Of, Saint Michael Archangel

Guido Reni (1575 - 1642) Workshop Of, Saint Michael Archangel

Guido Reni (1575 - 1642) workshop of Saint Michael Archangel Oil on canvas Dimensions (cm): 137 x 99 In antique frame 157 x 119 Provenance: Roman Collection All the details relating to this painting can be viewed at the following - LINK - We are sharing a work of great charm, an oil on canvas painting executed in the 17th century, depicting the famous St. Michael the Archangel painted by Guido Reni in 1635 for the Church of the Capuchins, in the heart of Via Veneto in Rome. The church was erected by handout from Cardinal Antonio Barberini (1569-1646), brother of Urban VIII, in favour of the Capuchin order; it was the same cardinal who commissioned the altarpiece from Guido Reni at the height of his artistic maturity and fame. After a long and intense training in Bologna, culminating at the Carracci Academy, Reni began to move away from mannerist painting and the influences of the group linked to these teachings. In 1602, at the age of twenty-seven, the painter, who was already working on his own, wanted to enrich his artistic background by travelling to Rome. He soon became famous in Roman circles, winning the protection of great figures such as Popes Paul V, Urban VIII and Scipione Borghese. The archangel Michael, engaged in the fight against Evil, is depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels to hell an irritated devil, whose head he tramples on with his foot. Soft coloured draperies envelop the body of the angel in an intense classicism within a balanced composition that highlights the celestial beauty of the angelic face. Great was the recognition and esteem of his contemporaries so that the painting was immediately an incredible success, thanks also to the controversy it aroused. In fact, Reni, having learnt that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had slandered him by denigrating some of his works, in revenge would impersonate the Devil with his own face.   Guido Reni's cunning was to exploit the historical competition between two of the most influential Roman families of the 17th century, the Barberini and the Pamphili, for his own personal revenge, while at the same time giving his work sudden celebrity. The proposed canvas, considering the period of its execution and its good quality, is certainly the work of an artist from Reni's prolific workshop. The conservation condition of the work is good with the presence of scattered restorations on the painted surface. ADDITIONAL INFORMATION: The work sold is completed by an antique frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/        
Saint Cecilia And The Concert Of Angels, Gerard Seghers (antwerp, 1591 - 1651) workshop

Saint Cecilia And The Concert Of Angels, Gerard Seghers (antwerp, 1591 - 1651) workshop

Gerard Seghers (Antwerp, 1591 - 1651) workshop Saint Cecilia and the Concert of Angels Oil on canvas 98 x 120 cm. - Framed 113 x 137 cm. All the details relating to this painting can be viewed at the following - LINK - This evocative painting, which we are pleased to show you, derives from a composition by Gerard Seghers (1591 - 1651), an acclaimed Flemish painter of the Caravaggio school, a version of which is now in the Scheidwimmer Collection in Munich (URL: https://catalogo.fondazionezeri.unibo.it/scheda/opera/99390/) [1]. In the centre of the composition is portrayed Saint Cecilia, the patron saint of music, accompanied by three musician angels, one at her side intent on reading the score and the other two playing a flute and a lute respectively. Cecilia's encounter with the angels is therefore approached by the painter as a concert scene, in which the Saint is intent on listening to the melody of the instruments of the three angels accompanying her voice. A Roman noblewoman who later converted to Christianity, she was a popular subject in the Baroque period, as the patron saint of music, instrumentalists and singers, and is depicted here as a splendid maiden dressed in regal attire. Beautiful and evocative is the detail of her gaze, turned upwards and radiating a mystical and divine light: this is because it is precisely through music that the Saint rises towards the divine. The most fascinating aspect of the work is undoubtedly its setting in the dark, precisely by candlelight, falling within the genre that was extremely widespread in 17th century Flemish painting under the influence of Caravaggio's work; this technique, capable of creating highly suggestive luministic effects, was to take the name ‘Caravaggesque luminism’. As the proposed work well illustrates, the artist, through his control of light and darkness, shapes an atmosphere of strong emotion, through which, out of deep darkness, he makes the plastic figures stand out with vigour. Our painter can certainly be traced back to the group of Nordic Caravaggists to which Seghers belonged, who, as was customary among Flemish painters of his generation, came to Rome in the very first years of the 17th century to study Caravaggio's celebrated creations at first hand, whose direct influence he suffered. [1] Although the original prototype has been lost, this depiction was made famous by the engraving by Nicolaes Lauwers (1600-1652) made and published in Antwerp around 1619-1652. URL: https://catalogo.fondazionezeri.unibo.it/scheda/opera/99391/ ADDITIONAL INFORMATION: The painting is in good condition with the presence of restorations on the surface as visible from the pictures. The work sold is completed by an attractive wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 to show you our collection of works. 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/
The Dawn, By Guido Reni (bologna 1575 - 1642), Late Baroque Painter 18th Century

The Dawn, By Guido Reni (bologna 1575 - 1642), Late Baroque Painter 18th Century

The Dawn - By Guido Reni (Bologna 1575 - 1642) Late Baroque painter, 18th century Oil on canvas (98 x 148 cm - Framed 108 x 159 cm) All the details relating to this painting can be viewed at the following - LINK - This large painting depicts the young Apollo, crowned in a blazing halo and wrapped in a broad cloak, driving the chariot of the Sun, drawn by four fiery horses that soar through the air bringing the light of the new day to earth. Preceding the Sun's chariot is Aurora, who hovers in the air scattering flowers wrapped in light veils, reflecting the delicate orange of the first rays of day, driving back the darkness of night to the right. The winged putto following her is Phosphor, the first star of the morning, carrying a lighted torch, while the warm light radiating from the chariot breaks up into the luminous colours of the veils enveloping young maiden bodies, the Hours, dancing around the Sun in a triumph of light. The iconographic prototype is ‘The Chariot of Dawn’ that Guido Reni frescoed in 1614 for the ceiling of the central hall of the Casino adjacent to the Pallavicini-Rospigliosi Palace in Rome, commissioned by Cardinal Scipione Borghese, an important patron of the arts. This mythological subject, charged with strong symbolic value, was often requested for the frescoes of many important residences: the artists had to represent not simply the rising of any new day, but allegorically the dawn of a new era of glory for the commissioning family. Shifting our gaze now to our composition, the Rhenish scene is here masterfully rendered by the hand of a talented painter, presumably active in Rome in the 18th century. In fact, the success of the work favoured its conspicuous diffusion, so much so that numerous paintings are known to have been executed by artists from Reni's circle/shop or active at a time immediately following the creation of the canvas, as in our case, to please some patrons eager to possess their own version. The Aurora fresco, which has become one of the most famous and admired works of art in the history of art, reveals an aspect that will always be characteristic of Reni's style, namely his admiration for ancient sculpture: in fact, starting from classical statues he developed an ideal of absolute perfection that would make him famous as a painter of ideal beauty. And this painting is its emblem par excellence. ADDITIONAL INFORMATION: The state of preservation is good with some colour gaps in the corners. The work sold is completed by an attractive gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. 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/        
Nativity With Adoration Of The Shepherds, Giacinto Gimignani (pistoia, 1606 - Rome, 1681) Works

Nativity With Adoration Of The Shepherds, Giacinto Gimignani (pistoia, 1606 - Rome, 1681) Works

Giacinto Gimignani (Pistoia, 1606 - Rome, 1681) workshop Nativity with Adoration of the Shepherds Roman school of the first half of the 17th century Oil on canvas (55 x 55 cm. - In a valuable antique frame 81 x 81 cm.) All the details relating to this painting can be viewed at the following - LINK - This marvellous and elegant work depicts the Adoration of the Shepherds, a favourite theme in ancient painting, here articulated according to the traditional iconography that sees the Holy Family welcoming the shepherds, who have come to the hut to pay homage to the birth of the Saviour; the happy event is announced by the two playful angels above holding the scroll ‘Gloria in altissimo Deo’. What makes our painting fascinating is undoubtedly the setting, enriched by ancient Roman temple ruins, which embellish the scene and at the same time symbolise the waning of the pagan age thanks to the birth of Christ. The painting is the work of a painter active in Rome in the first half of the 17th century, similar in style and composition to the Pistoiese Giacinto Gimignani (Pistoia 1606 - Rome 1681): the approach and rigour of the style, the pictorial quality and the brilliant range of colours that we can admire in ours are characteristics that the painter's production shares. Trained in his father's workshop in Pistoia, around 1630 (in his early twenties) he left his home town for Rome, where, after a period of strict adherence to the painting of Pietro da Cortona, he embarked on the path of an affected and composed classicism, in clear harmony with the painting practised in Rome by Nicolas Poussin. It is precisely these two names that will jointly influence Gimignani's style throughout his career. Although it is not easy to formulate a precise attribution, considering the extremely prolific and heterogeneous cultural environment, however, from what can be deduced by observing the painting and its excellent quality, it is plausible to trace it back to his workshop and at the same time it is easy to compare it with some of his compositions, first and foremost the Adoration of the Magi for the church of the Propaganda Fide' college in Rome (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900119812). Compositional details such as the solid monumental layout and the brilliance of the colours, cannot but evoke many of the painter's compositions: in fact, a rich and precious palette is revealed, giving the painting a rich dynamism, giving the entire composition a value of great dynamic balance. ADDITIONAL INFORMATION: The work sold is completed by a nice gilded frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. 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/
Frederick III Of Saxony, Called The Wise, Franz Wolfgang Rohrich (nuremberg 1787 - 1834)

Frederick III Of Saxony, Called The Wise, Franz Wolfgang Rohrich (nuremberg 1787 - 1834)

Follower of Lucas Cranach I (Kronach, 1472 - Weimar, 1553) Attributed to Franz Wolfgang Rohrich (Nuremberg 1787 - 1834) Frederick III of Saxony, called the Wise (1486-1525) Oil on panel (59 x 41 cm - with frame 85 x 68 cm. ) Provenance: Contini Bonacossi Collection, Florence, 1928 (as Lucas Cranach I) Lempertz Auction, Cologne, November 29, 1968, lot 15 Dorotheum, Vienna, Old Master Paintings, 10.11.2022, lot 184 (as a follower of Lucas Cranach I, URL: https://www.dorotheum.com/de/l/8282042/) The painting depicts Prince Frederick III of Saxony, known as Frederick the Wise, in mature age, with a serene gaze and a calm expression on his face, half-length while holding a precious rosary. The prince appears richly dressed, with a gold brocade suit, a brown fur collar spread over the shoulders, and a golden headdress for his hair. The sleeves are decorated with knotted gold cords and the rosary beads are gold spheres. The lectern, on which a book rests, is covered with a fabric similar to that of the dress. The original work, now lost, is a portrait that the court painter Lucas Cranach made for the Dominican church in Nuremberg, part of a religiously motivated princely propaganda program set in motion by the ruler. To fulfill this purpose, several copies were already made at the time, one of which is the one now in the Germanisches Nationalmuseum, Nuremberg (URL: https://objektkatalog.gnm.de/wisski/navigate/9755/view). In our case, the painting is part of the series of replicas made in later times at the hands of the skilled German painter Franz Wolfgang Rohrich, who trained at the Munich Academy of Art and then settled in Nuremberg, where he replicated with great success numerous paintings in the exact style and technique of the models by Lucas Cranach I (1472 - 1553). It is not known exactly whether Rohrich produced such works merely as an exercise in style or with a wittier purpose, but the fact remains that many collectors and even museums acquired such portraits mistaking them for original works of the period because of their perfect rendering. These include, for example, the portrait of 'Sibylle de Clèves with her son,' purchased by Pierre Révoil (1776-1842), a collector of medieval and Renaissance art, then entered the Musée Royal in 1828 with the Révoil collection, as an original by Cranach (now of course correctly traced back to Rohrich, held in the Louvre collections, URL: https://collections.louvre.fr/en/ark:/53355/cl010066838) By way of illustration we show you one more of his creations: - Cleve's Sibyl, Huntington (New York), August Heckscher Museum - New York, Metropolitan Museum of Art, Sophie of Poland https://www.metmuseum.org/art/collection/search/437495 - New York, Metropolitan Museum of Art, Frederick I (1460-1536), Margrave of Brandenburg-Ansbach https://www.metmuseum.org/art/collection/search/437494 - Portrait d'une femme à l'enfant toile, 60 x 42.5 cm Saint-Pétersbourg, Musée national de l'Ermitage - Christies London Old Master and British Paintings: 30 Oct 2014 https://www.christies.com/en/lot/lot-5836523 - Isabeau of Bavaria https://it.wikipedia.org/wiki/File:Isabeau_of_Bavaria_-_Franz_Wolfgang_Rohrich_(attr.)_-_19th_centur.... As we can ascertain, our enormously talented painter perfectly echoes Cranach's style and technique, with the same meticulous attention to detail. ADDITIONAL INFORMATION: The work sold is completed by a nice frame and comes with a certificate of authenticity and guarantee. We take care of and arrange transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. You can also see the painting in the gallery in Riva del Garda, we will be glad to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Saint Jerome Supported By Two Angels, Early 17th Century Venetian Painter

Saint Jerome Supported By Two Angels, Early 17th Century Venetian Painter

Saint Jerome supported by two angels Early 17th century Venetian painter Oil on canvas 86 x 67 cm. - In frame 103 x 84 cm. All the details relating to this painting can be viewed at the following - LINK - The proposed painting offers us an intense portrayal of Saint Jerome, Doctor of the Church who lived between the 4th and 5th centuries, according to the typical iconography that sees him immortalised in the desert, and in accordance with the literary tradition that illustrates his period of solitude spent in the desert. Stripped of his traditional cardinal's attributes, Jerome is depicted in the guise of a hermit saint, his livid flesh marked by old age and the bitterness of fasting. Exhausted by the fatigues of study, he collapses next to the sacred texts that lie scattered on the ground, miraculously supported by the pitiful gesture of two florid angels. Before him lie the skull, a symbol of the vanity of earthly life, and the books, a sign of those studies that gave rise to the drafting of the ‘Vulgate’, the translation of the Bible into Latin. The lion at his feet recalls episodes handed down by the sources, including the Legenda Aurea by Jacopo da Varazze (late 13th century), according to which the beast, wounded by a thorn stuck in its paw, was healed by the saint, and therefore remained faithful to him, accompanying him throughout his retreat. Completing the iconography are the other attributes that distinguish him: the stone with which he struck his chest as a sign of penitence, the cardinal's hat that identifies him as the pope's secretary, and above him the angels blowing the trumpets of judgement. A stream of light mercilessly reveals the folds and wrinkles of his flesh, from which the intense red of the ample drapery surrounding the hermit saint's body stands out. An analysis of the painting allows us to place its execution in the northern Italian school, executed by a Venetian artist in the early 17th century, although the style is still anchored in the Renaissance dictates of the previous century. Both the pictorial manner and the colouring in which the bright red of the drapery that envelops the Saint's body, an allusion to the dignity of cardinals, dominate, are reminiscent of Titian. Examining its stylistic characteristics, we find great consonances with the achievements of the workshop of the Venetian Jacopo Negretti, known as Palma il Giovane. His painting, and the fascination derived from it, is the result of a mixture of different influences: that of the Venetian school, of Titian and Tintoretto, and that of the Florentine-Roman school of Raphael and Michelangelo, which he learned during his four-year stay in Rome. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique gilded wooden frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/    
Full-length Portrait Of A King, Francisco De Zurbaran (fuente De Cantos 1598 - Madrid 1664)

Full-length Portrait Of A King, Francisco De Zurbaran (fuente De Cantos 1598 - Madrid 1664)

Francisco de Zurbaran (Fuente de Cantos 1598 - Madrid 1664) circle Full-length portrait of a king Second half of the 17th century Oil on canvas 78 x 52 cm. - in frame 89 x 67 cm. The depiction of monarchs had a strong propagandistic and social prestige function in Spain from the mid-16th century onwards, going hand in hand with the presence of a stable and powerful court. In our case we are confronted with the figure of a ruler (not necessarily Spanish, we can detect strong similarities with the French Louis XIII of Bourbon) immortalised full-length in three-quarter-length, with his armour of high representation, sword, staff of command, and with a bright red cloak sliding down his back. This image corresponds to the type of representative portrait that was often requested at the Spanish court and in particular we can compare it with the ‘Portrait of a Commander’ from the workshop of Francisco de Zurbarán (Hermitage Museum, Saint Petersburg URL: https://spanishbaroqueart.tumblr.com/post/186318207379/workshop-of-francisco-de-zurbar%C3%A1n-portra.... One of the most appreciated Baroque painters of the golden age of Spanish painting, Francisco de Zurbarán (Fuente de Cantos 1598 - Madrid 1664) devoted himself exceptionally to portraiture, specialising almost exclusively in painting with religious themes. Among his most appreciated works, in addition to the portrait just mentioned, is the Don Alonso de Albornoz, in the Gemaeldegalerie in Berlin (URL: https://recherche.smb.museum/detail/863921), painted immediately after his stay at the court of Madrid. Here, around 1634, he worked together with Velázquez and other painters on the decoration of the throne room, the Salón de Reinos, in the Palacio del Buen Retiro and was awarded the rank of court painter by Philip IV. ADDITIONAL INFORMATION: The painting is in a good state of conservation with the presence of restorations on the surface as can be seen in the images The work is sold complete with a nice frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for 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 case of purchase of the work by non-Italian clients it will be necessary to obtain an export permit, which takes about 10/20 days, our gallery will take care of the whole phase until it is obtained. All costs of 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/