Galleria Castelbarco
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
  • Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of
Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of

13800 €


Annibale Carracci (Bologna, 1560 - Rome, 1609) Circle of Jupiter and Juno Oil on canvas (126 x 95 cm. - In frame 142 x 112 cm.) Complete details of the work (click HERE) The work depicts Jupiter and Juno, king and queen of the gods, the supreme couple of Roman mythology (Zeus and Hera in Greek mythology), who embody divine power and the complex dynamics of marriage, consisting of loyalty, extreme jealousy, and infidelity. The scene is inspired by Book XIV of the Iliad, when the Queen of Olympus, siding with the Greeks, seduces Jupiter on Mount Ida to distract him from the fate of the Trojan War, as she wanted the Trojans to win in order to avenge her son Achilles. Jupiter, seduced by his wife's bewitching appearance, is depicted welcoming Juno into the bridal chamber: she wears Venus's magic belt to appear irresistible. The scene loses its classical mythological solemnity and takes on a more intimate, almost mischievous tone, emphasizing the humanity of the gods. The work is a splendid version taken from one of the panels of the series of frescoes decorating the vault of Palazzo Farnese, executed by Annibale Carracci between 1597 and 1600, commissioned by Cardinal Odoardo Farnese to celebrate the marriage between Ranuccio Farnese and Margherita Aldobrandini, where the central theme is ‘The Loves of the Gods’ (fig. 1). The freedom and sensuality of this image marks the transition from the rigor of the Counter-Reformation to a new sensual and classical freedom of expression: Jupiter and Juno, husband and wife, approach each other in an intensely erotic attitude, with a clear return to the vibrant culture of the Renaissance, with strong references to Michelangelo (for the plasticity of the figures) and Raphael. Of all Carracci's frescoes, this one in particular became one of the most famous and admired panels in the Farnese Gallery, with its sense of emotional intensity and sensuality. The success of this subject therefore led to its widespread diffusion in ‘chamber’ format, so much so that today we know of numerous paintings made by artists from the painter's circle/workshop or active in the period immediately following the creation of the fresco, to satisfy Roman art collectors who wanted to own their own version. Among the numerous later copies, we can mention the painting on canvas attributed to Antonio Carracci, now housed in the Borghese Gallery in Rome (image 2 - https://www.collezionegalleriaborghese.it/opere/giove-e-giunone). ADDITIONAL INFORMATION: The work is sold complete with an antique frame and comes with a certificate of authenticity and guarantee. We take care of and organize 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. We will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
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Viale Giovanni Prati, 39 ,
38064 Riva del Garda
Country: Italy
Tel.: +39 (0)349 4296 40
E-mail: info@antichitacastelbarco.it
Website: www.antichitacastelbarco.it
The Myth Of Apollo And Issa, Gérard De Lairesse (1641 - 1711) Workshop

The Myth Of Apollo And Issa, Gérard De Lairesse (1641 - 1711) Workshop

Gérard de Lairesse (Liège 1641 - Amsterdam 1711) workshop The Myth of Apollo and Issa (from Ovid, Metamorphoses, book VI, 122-124) Oil on canvas 65 x 82 cm. - Framed 84 x 99 cm. Full details of the painting (click HERE) The painting presented here illustrates a little-known but fascinating Greek myth, taken from a passage in Metamorphoses (book VI, 122-124), the famous mythological poem by the Latin poet Ovid, which tells of the passion between the god Apollo and the young mortal Issa. It is said that Apollo fell in love at first sight with the beautiful shepherdess Issa (daughter of Macareus), approached her while she was tending her flocks and transformed himself into a simple shepherd in order to seduce her without frightening her with his divine nature. The moment depicted is when the god revealed his divine identity, showing himself in all his splendour, wrapped in a red cloth and with his ever-present bow, and the girl, as his beloved, also takes on the features of a deity. The two lovers are surrounded by fluttering cherubs playing with soap bubbles, which in art symbolise beauty but also fragility: in our case, they allude to the brevity of love between gods and humans, passionate but inexorably destined to end quickly. An analysis of the compositional and stylistic characteristics of the painting, including the brilliance of its execution, the classical elegance of its forms and the quality of its colours, easily attributes it to Gérard de Lairesse (Liège, 1641 – 1711), a Dutch painter and engraver of the Golden Age, admired for his markedly classicist and academic style, which earned him the nickname “the Dutch Poussin”. Although his basic training was Flemish in style, given his attendance at the School of Liège, his works are imbued with a marked classicist taste, where the French and Italian influence of Nicolas Poussin (1594-1665) was decisive, with whom we can already see strong affinities at first glance. Worth mentioning is the beautiful landscape setting of the scene, with ruins of classical architecture and sculptures that emphasise the Italianate style of Arcadian taste, so beloved by 17th-century European collectors. De Lairesse moved to Amsterdam, where he concentrated his activity between 1665 and 1689 thanks to a prolific workshop with a considerable number of pupils. Here he was celebrated for his ability to translate the principles of classical art theory into vast mythological and allegorical compositions, much appreciated by the patrons of the time, who reflected the political, intellectual and aristocratic elite of the era. The most prestigious commissions came from the court and the high nobility, where his mythological themes were used to elevate the status of his patrons through parallels with classical deities and virtues: William III of Orange, for example, commissioned him to paint a series of mythological scenes on the theme of love for the rooms of his wife, Mary Stuart, in the royal palace of Soestdijk. He produced a large number of works for the patrician residences of Amsterdam, almost exclusively of a mythological nature, favouring episodes from Ovid's Metamorphoses, often interpreted in a gallant key, where he frequently included portraits of the owners of the houses in the guise of classical deities. Given the well-defined features of the faces of the two protagonists, which suggest a portraiture intent, our work could easily fall into this category. Good condition. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant gilded frame and is accompanied by 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 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/
Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of

Jupiter And Juno, Annibale Carracci (bologna, 1560 - Rome, 1609) Circle Of

Annibale Carracci (Bologna, 1560 - Rome, 1609) Circle of Jupiter and Juno Oil on canvas (126 x 95 cm. - In frame 142 x 112 cm.) Complete details of the work (click HERE) The work depicts Jupiter and Juno, king and queen of the gods, the supreme couple of Roman mythology (Zeus and Hera in Greek mythology), who embody divine power and the complex dynamics of marriage, consisting of loyalty, extreme jealousy, and infidelity. The scene is inspired by Book XIV of the Iliad, when the Queen of Olympus, siding with the Greeks, seduces Jupiter on Mount Ida to distract him from the fate of the Trojan War, as she wanted the Trojans to win in order to avenge her son Achilles. Jupiter, seduced by his wife's bewitching appearance, is depicted welcoming Juno into the bridal chamber: she wears Venus's magic belt to appear irresistible. The scene loses its classical mythological solemnity and takes on a more intimate, almost mischievous tone, emphasizing the humanity of the gods. The work is a splendid version taken from one of the panels of the series of frescoes decorating the vault of Palazzo Farnese, executed by Annibale Carracci between 1597 and 1600, commissioned by Cardinal Odoardo Farnese to celebrate the marriage between Ranuccio Farnese and Margherita Aldobrandini, where the central theme is ‘The Loves of the Gods’ (fig. 1). The freedom and sensuality of this image marks the transition from the rigor of the Counter-Reformation to a new sensual and classical freedom of expression: Jupiter and Juno, husband and wife, approach each other in an intensely erotic attitude, with a clear return to the vibrant culture of the Renaissance, with strong references to Michelangelo (for the plasticity of the figures) and Raphael. Of all Carracci's frescoes, this one in particular became one of the most famous and admired panels in the Farnese Gallery, with its sense of emotional intensity and sensuality. The success of this subject therefore led to its widespread diffusion in ‘chamber’ format, so much so that today we know of numerous paintings made by artists from the painter's circle/workshop or active in the period immediately following the creation of the fresco, to satisfy Roman art collectors who wanted to own their own version. Among the numerous later copies, we can mention the painting on canvas attributed to Antonio Carracci, now housed in the Borghese Gallery in Rome (image 2 - https://www.collezionegalleriaborghese.it/opere/giove-e-giunone). ADDITIONAL INFORMATION: The work is sold complete with an antique frame and comes with a certificate of authenticity and guarantee. We take care of and organize 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. We will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Nativity Of Jesus, Gerard David (oudewater, C. 1460 - Bruges, 1523)

The Nativity Of Jesus, Gerard David (oudewater, C. 1460 - Bruges, 1523)

The Nativity of Jesus Flemish school, late 16th/early 17th century Gerard David (Oudewater, c. 1460 - Bruges, 1523) Follower of Oil on copper 30 x 25 cm. - In frame 47 x 42 cm. Full details of the work (click HERE) This small gem on copper, depicting the Nativity, is a valuable version of a work by Gerard David, specifically the central panel of the famous Triptych of the Nativity with Donors and Saints Jerome and Leonard (c. 1515), currently housed at the Metropolitan Museum of Art in New York (https://blog.metmuseum.org/cloistersgardens/ 2012/12/18/bread-from-heaven/ )**. The work reflects the meticulous and realistic style typical of the Northern Renaissance, characterised by remarkable compositional balance and meticulous attention to detail: Gerard David was the last of the great masters of the Bruges school and his work was widely studied and replicated by his workshop, both during his lifetime and especially after his death. Our composition in particular, certainly commissioned as an object of private devotion, is the work of a follower of the great master, active in the Flemish region between the end of the 16th and the beginning of the 17th century. The painting immortalises in the most classical way the episode of the birth of Jesus, who lies in a manger surrounded by an ox and a donkey, with Mary and St Joseph in adoration (the mother holds her hands clasped in prayer, while Joseph crosses his arms over his heart in humility). A curious and unusual detail concerns Joseph, who is represented here as a young man, unlike most depictions. The detail of the angels of the heavenly host gathered at the site of the divine event, high up on the right, is beautiful, as is the glimpse of the background through an opening, from which shepherds can be seen in a hilly landscape, giving the work an evocative atmosphere of contemplation. The setting is also very evocative, faithfully replicated from the original prototype, which is based on the passage from the Gospel of Luke (Luke 2:7): according to tradition, the family could not find shelter in any inn and chose to protect the child inside the dilapidated palace of King David of the Old Testament, an ancestor of Christ. **Gerard David, Triptych, 1505, 90 x 71 cm Metropolitan Museum of Art (New York, United States) ADDITIONAL INFORMATION: The work is sold complete with an attractive 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 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 procedure are included. 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/
Pier Francesco Garola (Turin 1638 - Rome 1716), Capriccio architectural

Pier Francesco Garola (Turin 1638 - Rome 1716), Capriccio architectural

Pier Francesco Garola (Turin 1638 - Rome 1716) Capriccio architectural avec vue côtière huile sur toile (74 x 99 cm. - avec cadre 87 x 112 cm.) Bibliographie de référence : G. Sestieri, Il capriccio architettonico in Italia nel XVII e XVIII secolo, Foligno, 2015, II (pp. 62-81). DÉTAILS COMPLETS DE L'ŒUVRE (CLIQUEZ ICI) La toile proposée, magnifique exemple de fantaisie architecturale, est une œuvre d'excellente qualité du peintre baroque tardif Pietro Francesco Garola (Turin 1638 - Rome 1716), figure de proue dans la représentation de ruines romaines et d'architectures fantastiques, définies sous le nom de « capriccios » : la peinture, très charmante et suggestive, nous offre un exemple typique de ses vues imaginaires, nous montrant la façade d'un imposant palais classique, d'inspiration italienne et aux puissantes colonnes de marbre, vue sous un angle qui prolonge la scène à travers un élégant panorama débouchant sur une vue côtière suggestive. Notre œuvre, probablement réalisée vers la dernière décennie du XVIIe siècle, est conçue avec une sensibilité théâtrale, où le palais monumental et la vue au loin semblent faire partie d'un seul décor, avec les personnages représentés dans des vêtements orientaux qui apparaissent comme de véritables acteurs de théâtre. Son habileté dans l'utilisation de la perspective, le rendu savant des décorations architecturales, ainsi que l'utilisation intense du clair-obscur, sont les éléments qui l'ont rendu extrêmement célèbre, conférant à ses œuvres une grande élégance compositionnelle, qui caractérise également le présent tableau. À l'appui de cette attribution, nous pouvons citer certaines œuvres publiées par Giancarlo Sestieri dans les volumes sur le capriccio architectural publiés en 2015 (que nous reproduisons dans les photos des détails), telles que le pendant attribué à Pier Francesco Garola, anciennement Padova Galleria Antiquaria G. Morosini, représentant « Capricci architettonici con storie di David » (Caprices architecturaux avec des histoires de David) dans lesquels, bien qu'ils présentent une composition complexe, nous pouvons retrouver de nombreux détails compositionnels repris dans le tableau en question (II, p. 80, fig. 26 a-b). En outre, nous constatons des similitudes stylistiques frappantes avec la « Vue de la Piazza del Campidoglio à Rome » (Christie's, Londres, 22 avril 1994, lot 244) et encore le « Capriccio avec bâtiments classiques et triomphe de David », également publié par Senstieri (respectivement vol. II, p. 70, fig. 13 et p. 71, fig. 14b). Ses œuvres sont conservées à la Galleria Sabaudia de Turin, à la Pinacothèque du Musée civique Ala Ponzone de Crémone, à la Galleria Pallavicini, à la Galleria Spada et à la Galleria dell'Accademia Nazionale di San Luca à Rome, ainsi que dans de nombreuses autres collections publiques et privées prestigieuses. INFORMATIONS SUPPLÉMENTAIRES : L'œuvre est vendue avec un cadre ancien et est accompagnée d'un certificat d'authenticité et d'une garantie. Nous nous occupons et organisons le transport des œuvres achetées, tant en Italie qu'à l'étranger, par des transporteurs professionnels et assurés. Il est également possible de voir le tableau dans la galerie de Riva del Garda, nous serons heureux de vous accueillir pour vous montrer notre collection d'œuvres. N'hésitez pas à nous contacter pour toute information complémentaire. Suivez-nous également sur : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Rebecca At The Well, Francesco De Mura (naples 1696 - Naples 1782) Workshop

Rebecca At The Well, Francesco De Mura (naples 1696 - Naples 1782) Workshop

Francesco de Mura (Naples 1696 - Naples 1782) workshop Rebecca at the Well Oil on canvas 26 x 87 cm. - Framed 38 x 99 cm. NB: The darker strip at the top of the painting is the shadow of the frame Full details of the work (click HERE) The painting depicts the biblical episode from the Book of Genesis (Genesis 22:23): Eliezer, the most faithful servant of the patriarch Abraham, is sent by the latter to his country of origin in search of a suitable wife for his son Isaac, thus ensuring a descendant for his lineage. He sets off with a caravan of ten camels and precious gifts, and when he arrives at a well, tired and thirsty, he meets a young woman named Rebecca, who offers him freshly drawn water and also takes care of his camels. The servant interprets this gesture of kindness as a divine sign, recognising in her the bride predestined by God for Isaac. Our painting illustrates the scene in which Eliezer, preparing to drink from an amphora, orders his servant to open the chest full of precious jewels to give them to the woman. Observing the composition of the canvas, with its sparkling palette, the theatrical gestures that animate the characters, the narrative brilliance and pleasant pictorial quality, we can easily attribute its authorship to Francesco de Mura (Naples, 1696 - 1782), one of the greatest interpreters of 18th-century Neapolitan painting, or to an artist from his workshop. In this regard, it should be noted that his style highlights the pictorial lexicon of the most vibrant 18th-century Neapolitan figurative culture, derived from the study of the works of great masters such as Luca Giordano, Francesco Solimena and Paolo de Matteis, without neglecting the light pictorial ductus and vaguely pearly colours inspired by the works of Corrado Giaquinto. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded wooden frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. If the work is purchased by non-Italian customers, an export permit will be required, which takes approximately 10-20 days to obtain. Our gallery will take care of the entire process until the permit is obtained. All costs associated with 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/
Claude Vignon (tours, 1593 – Paris, 1670), Portrait Of A Singer In A Double

Claude Vignon (tours, 1593 – Paris, 1670), Portrait Of A Singer In A Double

Claude Vignon (Tours, 1593 – Paris, 1670) Portrait of a singer in a doublet Circa 1625 Oil on canvas (105 x 79 cm. - In frame 120 x 94 cm.) Full details of the work (CLICK HERE) The work has been the subject of a detailed study by Dr Daniele Fiore (2019) (link to the document: https://issuu.com/theartadvisor/docs/claude_vignon ) We present this interesting portrait of a young singer, immortalised from the front as he holds his score, elegantly dressed in a damask doublet with puffed sleeves, from which emerges a shirt with a soft collar, cinched at the waist by a sash, in typical Renaissance fashion. The subject is shown with dishevelled hair, as if he had just been hit by a gust of wind that ruffled his hair and bent the corner of the sheet music, revealing some letters in capital letters (the first, cruciform, perhaps an “F”, the second a “B” with a probable apical sign, the third a “C”). In this sense, the facial expression, with the mouth open in the act of singing and the gaze turned upwards, leaves us wondering whether those eyes are searching for the perfect note or cursing the unexpected draught. The young man's intense gaze seems so lost in a “dreamy distance” that it makes him fascinating, emphasised by the soft rendering of the light that defines the volumes of his face. His pose is also curious, with his left hand held under his jacket, giving the impression of a relaxed posture, as if the young man were improvising a song with his hand in his pocket and his right side leaning with his elbow on a balustrade. An analysis of the composition and style would allow us to attribute the work to the French artist Claude Vignon (Tours, 1593 - Paris, 1670), illustrating a subject typical of the figurative repertoire created by the great master, very close to the world of music. In his portraits, Vignon was able to modulate Caravaggio's chiaroscuro with the light colours favoured by his fellow French artists working in Rome and Venice. The rich chromatic material, a distinctive feature of Vignon's work, comes together here in quick, frayed brushstrokes. After studying in Paris under Jacob Bunel, one of the most famous masters of the reign of Henry IV, he moved to Rome to complete his training (c. 1610-1623) under the influence of Caravaggio and his followers, and distinguished himself with an eclectic style characterised by bright colours, thick brushstrokes and a peculiar expressiveness, with a free and theatrical composition. Based on this attribution, confirmed by a study dedicated to the painting by Dr. Daniele Fiore in 2019, the painting in question could be part of the ‘Triptych of the Singers’ that Claude Vignon painted in the 1620s, consisting of two other canvases in addition to the one presented here, one of which is currently in the Louvre in Paris (https://collections.louvre.fr/en/ark:/53355/cl010066185 ) and the other was auctioned at Sotheby's in December 2008. 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 take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it h https://www.facebook.com/galleriacastelbarco/
Interior Of A Flemish Church, Hendrick Corneliszoon Van Vliet (1612 - 1675)

Interior Of A Flemish Church, Hendrick Corneliszoon Van Vliet (1612 - 1675)

Hendrick Corneliszoon van Vliet (Delft, 1612 – Delft, 1675) Interior of a Flemish Church Oil on canvas 75 x 89 cm. - In frame 103 x 89 cm. Full details of the work (click HERE) This gem of Flemish painting immerses us in the atmosphere of a 17th-century church and is attributable to the Flemish painter Hendrick Corneliszoon van Vliet (Delft, 1612 – Delft, 1675) or to an artist from his workshop: a key figure in the history of art in the “Golden Age” of Dutch painting, he became famous for his masterful and complex representations of ecclesiastical interiors. This particular type of painting became extremely fashionable in the 17th century, especially in the homes of wealthy art collectors in Antwerp, and many artists competed to create refined works with sumptuous architectural structures, often sought after as collector's items, to enhance the devotion and majesty of the sacred space, while creating a precious “treasure chest” effect. Our painting, which captures the essence of a large cathedral, is plausibly the result of the artist's inventiveness: most of the works were based on real buildings, but it was thanks to the imagination of the painters and their artistic needs that they were revisited and adapted for an emotional reinterpretation, the result of personal reworking of ideas taken from other paintings. Returning to our painting, there is no doubt that Van Vliet's captivating style succeeds in conveying all the grandeur of the architecture through meticulous attention to detail, with numerous works of art reproduced in great detail: from the paintings placed on the columns of the nave (we see a beautiful Annunciation and a Nativity on the right) to the finely carved wooden pulpit, the stone sculptures and the candelabra hanging in the centre of the nave. The building is marked by wide aisles with light filtering through the arched windows on the left, illuminating the nave of the sacred building, the massive pillars, the portals and the chequerboard floor that guides the viewer's gaze towards the back, while the numerous figures dressed in period clothing are present within the sacred space and give the work a sense of narrative and everyday life. These paintings were not simply representations of physical spaces but explorations of faith, devotion and the interaction between the human and the divine. Van Vliet manages to capture the grandeur and spirituality of the building: in addition to its obvious beauty, the interior of the church also reveals lesser-known aspects of life at the time, showing people from different social classes gathered together, nobles and bourgeoisie, peasants and clergy, rich and poor, reflecting the importance of religion in the society of the time and the union of people of different status in the same environment. ADDITIONAL INFORMATION: The painting is sold complete with an attractive frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it? https://www.facebook.com/galleriacastelbarco/
Stormy Sea With Ships, Matthieu Van Plattenberg (antwerp 1608 - Paris 1660)

Stormy Sea With Ships, Matthieu Van Plattenberg (antwerp 1608 - Paris 1660)

Matthieu Van Plattenberg (Antwerp 1608 - Paris 1660) workshop of Stormy sea with ships Oil on canvas 90 x 120 cm - In antique frame 103 x 133 cm Full details of the work (click HERE) This evocative coastal view, dating from between the late 17th and early 18th centuries, where the choppy waves of the sea crash violently against the ships sailing along, is clearly the work of the workshop of the Flemish artist Matthieu Van Plattenberg (Antwerp 1608 - Paris 1660), a leading exponent of 17th-century Flemish art. The centrepiece of the scene is a large vessel, at the mercy of the waves and in obvious difficulty near the rocks, with the crew busy trying to prevent it from sinking, while another vessel struggles with the same difficulties but further from the shore. We find all the pictorial characteristics of Van Plattenberg, exhibited with remarkable pictorial qualities, which made the author excel in this pictorial genre and in the representation of storms with turbulent seas: in the canvas, he has masterfully captured the power of the narrative, where the arrival of the storm is marked by the threatening sky with large clouds chasing each other, and the swollen sea with giant waves enveloping the hulls of the ships. The scene is intensely dramatic, with vivid light filtering through the clouds, accentuating and contributing to the overall sense of vigour in the painting. The brightness, with particular attention to the light tones in the waves and clouds, is used to convey a lively effect of movement, creating the realistic illusion of breaking waves and the tension of the wind. Born in Antwerp in 1608, a pupil of Andries van Eertvelt, he spent most of his career outside Flanders, first in Italy and then in France, where he played an important role in the theme of sea storms, which enjoyed great success during the 17th century, as the intense drama that the stormy sea could convey was appreciated by collectors. In Italy, in particular, he became a reliable reference point for Pieter Mulier il Tempesta, but also for painters such as Salvator Rosa, Antonio Francesco Peruzzini and Marco Ricci. The growing prosperity of the Dutch and Flemish merchant classes had created a strong demand for paintings for the walls of homes and offices, no longer with the classic historical or religious subjects, but depicting scenes more closely related to everyday life, such as cityscapes, landscapes and, above all, seascapes. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Pier Dandini (florence, 1646 – 1712), The Finding Of Moses

Pier Dandini (florence, 1646 – 1712), The Finding Of Moses

Pier Dandini (Florence, 1646 – 1712) The Finding of Moses Oil on canvas 87 x 118 cm In frame, 102 x 132 cm Provenance: International Auction and Exhibition Hall – Sale of Important Private Collections of Fine Antiques – Florence, Palazzo Corsini, lot 448 (11 April 1975) *** see photo Details of the work (click HERE) The Finding of Moses is one of the most iconographic and studied biblical subjects in art history, particularly beloved since the Renaissance as one of the most emblematic examples of Divine Providence. taken from a passage in Exodus (2:1-10), it illustrates the episode in which the daughter of the Pharaoh of Egypt saves the baby Moses from the waters of the Nile, then cares for him and raises him as a prince of Egypt, saving him from the infanticide of the firstborn Hebrews ordered by her father. At the centre of the scene is the beautiful princess (often identified as Bithiah) in royal robes and jewels, accompanied by her handmaids and royal guards: we see her here immortalised at the moment when they show her the child and she, moved by great compassion, decides without hesitation to take him with her. The story is permeated with a subtle divine irony: the one who was to be killed by Egyptian order is miraculously saved and welcomed into the Pharaoh's court, destined to become the leader of Israel and liberator of his people from Egyptian slavery. The work presented here belonged to a historic Florentine collection, offered at a high-end antiques auction in April 1975 held at Palazzo Corsini in Florence. Given the particular stylistic and typological characteristics of the figures, the work is traditionally attributed to Pietro Dandini (Florence, 1646-1712), a refined painter of the late Tuscan Baroque, known for his theatrical and elegant style, who played an important role in the Florentine art scene in the second half of the 17th century. A prolific and refined painter, he was able to blend the Florentine tradition with the influences he gathered during his formative travels in northern Italy, including Venice, Modena, Parma and Bologna, establishing himself as one of the most appreciated interpreters of Tuscan Baroque. The lively colouring and the dynamic, free composition of the figures, together with the physiognomy and soft rendering of the fabrics, allow us to recognise stylistic aspects that can be attributed to his work. As can easily be seen in this beautiful painting, his art is distinguished by a sophisticated elegance and a profound, often dramatic spiritualism, intelligently integrating the influences of Pietro da Cortona and Luca Giordano in an energetic language characterised by a luminous use of colour, dynamic compositions and a theatricality that was well suited to the needs of religious and aristocratic patrons. He was particularly active for the nobility of the time and in Florence Dandini quickly became one of the most sought-after artists, thanks in part to the patronage of the Medici family, in particular Prince Ferdinando and Grand Duke Cosimo III. He also worked for the most important noble families, including the Ginori, Orlandini, Feroni and Corsini, who were particularly fond of his sacred and mythological scenes, animated by elegant and lively figures, which embody a balanced Baroque style, capable of blending devotion and spectacle. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Banquet Of Belshazzar, Frans Francken II (antwerp, 1581–1642) Workshop

The Banquet Of Belshazzar, Frans Francken II (antwerp, 1581–1642) Workshop

Frans Francken II (Antwerp, 1581–1642) workshop/circle The Banquet of Belshazzar Oil on canvas 98 x 115 cm In frame 121.5 x 141.5 cm Full details of the work (click HERE) The painting, which shows us a sumptuous banquet set in the hall of a luxurious palace, depicts the biblical episode in which the Babylonian king Belshazzar, who lived in the 6th century, had the gold and silver vessels stolen from the Temple in Jerusalem brought to him to drink from with his more than a thousand dignitaries, wives and concubines (Bible, chapter 5, Book of Daniel). Suddenly, in the middle of the feast, a blinding light appeared - evoked here by the rays coming from the large candelabra in the centre - and a mysterious hand engraved three incomprehensible words on the wall of the palace: “Mane, Thecel, Phares” (literally “I count, I weigh, I divide”). The court soothsayers were unable to interpret them, but the prophet Daniel, who was attending the banquet near the King, revealed that those words were God's negative judgement on Belshazzar and foreshadowed the imminent end of his reign (that same night, the sovereign was killed and the Babylonian kingdom divided between the Medes and Persians). In particular, Daniel interpreted the individual words as follows: ‘Mane - God has counted your kingdom and brought it to an end’, ‘Tèchel, you have been weighed on the scales and found wanting’, ‘Phares, your kingdom is divided and given to the Medes and Persians’ (Daniel 5:1-30). The work, a valuable testimony to the descriptive richness typical of 17th-century Flemish masters, can be attributed in terms of style and compositional choices to the prolific workshop of Frans Francken (Antwerp 1581 - 1642), who loved to revisit biblical themes in his works, particularly the great banquets of history (the wedding of Esther and Ahasuerus, Herod's banquet, Lazarus' banquet...), which offered him the opportunity to give space to his strong narrative propensity. Following in his father's footsteps, Frans Francken II is considered the true protagonist of the family line, the one who transformed the family workshop into a production centre known throughout Europe. It should be added that he was surrounded by talented assistants, often members of his family, and that his sons continued the business, varying little from the compositions already widely experimented with. ADDITIONAL INFORMATION: The painting is sold complete with an antique 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, 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/
Portrait Of Françoise-athénaïs, Marquise De Montespan, Henri Gascard

Portrait Of Françoise-athénaïs, Marquise De Montespan, Henri Gascard

Workshop of Pierre Mignard (1612–1695) Attributed to Henri Gascard (Paris 1635–Rome 1701) Portrait of Françoise-Athénaïs, Marquise de Montespan (1640-1707), favourite of Louis XIV of France Oil on canvas (79 x 86 cm. - In frame 91 x 98 cm.) Full details of the painting (click HERE) The painting depicts Françoise-Athénaïs de Rochechouart de Mortemart, Marquise de Montespan (Lussac-les-Châteaux, 1640 – Bourbon-l'Archambault, 1707), a French noblewoman better known as Madame de Montespan, the most famous mistress of King Louis XIV of France. Belonging to one of the oldest and most noble families in France, the House of Rochechouart, Madame de Montespan was called by some “the true Queen of France” during her love affair with Louis XIV of France because of her pervasive influence at court during that period. She was one of the most emblematic and fascinating figures of the Sun King's court, celebrated by her contemporaries as a woman of extraordinary beauty: with her blonde hair, blue eyes and crimson lips, she was the perfect embodiment of beauty according to the standards of the time. Next to her is Cupid on a cloud, the god of love, ready to shoot his arrow at her, alluding to her amorous control over Louis XIV between 1667 and 1680. The practice of portraying royal mistresses as goddesses was also a way of legitimising their influence at court, elevating them to icons of fashion and eternal beauty. The portrait, in particular, is based on a composition created by Pierre Mignard's workshop and now in Versailles (Musée national des Châteaux de Versailles et de Trianon), which depicts Madame de Montespan as Venus, flanked by her young son Cupid (https://collections.chateauversailles.fr/#/ query/678e7719-364b-4c8e-a65a-20939d96d8ce ). The noblewoman is portrayed reclining, elegantly dressed in a silk dressing gown adorned with lace, with pearls in her hair and around her neck, stylistically reflecting the figurative culture of the French Grand Siècle, characterised by a Baroque classicism aimed at exalting the court of the Sun King. Pierre Mignard is known to have portrayed Madame de Montespan on several occasions, often with allegorical themes. There are works attributed to his workshop that show Montespan crowned by Cupid, emphasising her “power” and influential beauty at court. Numerous portraits were dedicated to her by the greatest painters of the time, reflecting her position as the “absolute” favourite at the court of Louis XIV and celebrating her legendary beauty and lavish taste, in which she was often portrayed as a classical goddess. Famous examples include Charles Beaubrun's portrait depicting her as Diana the Huntress, or the French painting in the Pitti Palace in Florence, which also shows her as Diana the Huntress, surrounded by cupids and dogs (https://catalogo. cultura.gov.it/detail/HistoricOrArtisticProperty/0900126047 ), and finally the portrait of Monstespan as Iris by Louis Elle, also in Versailles (https://pop.culture.gouv.fr/notice/joconde/000PE007085 ). Returning our attention to our canvas, it is likely that it is a work from the workshop of Pierre Mignard himself, generically datable to the last quarter of the 17th century: specifically, in our opinion, it would be plausible to link it to Henri Gascard (1635–1701), a pupil and collaborator of Mignard, from whom he learned the elegant and idealised style typical of French classicism of the period. A highly successful French portrait painter in the 17th century, he often worked “in the manner of” or as a follower of Mignard, and many 17th-century works are now the subject of attribution debate between the two artists or their respective workshops. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant gilded 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 you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
SOLD
Saint Michael The Archangel, Antonio Maria Viani (1550 – 1635)

SOLD

Saint Michael The Archangel, Antonio Maria Viani (1550 – 1635)

Antonio Maria Viani (Cremona, circa 1550 – Mantua, circa 1635) Saint Michael the Archangel Oil on canvas (78 x 61 cm – in antique frame 89 x 71 cm) On the back, traces of an ancient inscription with the acronym DCAI, a Greek abbreviation referring to the divine attributes of the saint: D (Dikaios, the Just), C (Custos, guardian/protector of the Church), ? (Archangelus) and I (Invictus or undefeated warrior). Full details of the painting (click here) This image of Saint Michael the Archangel is evocative, depicted with outstretched wings in his armour, his right hand holding a flaming sword while the other holds a rod with a scale hanging from it, on which souls are placed, and which he will use to weigh their merits and sins. It is therefore an extremely fascinating subject, taken from the theme of the Last Judgement and specifically from the “psychostasia”, or the weighing of souls by St. Michael: according to the Book of Revelation, he had the power to sift through souls before the Last Judgement, choosing the elect for ascension to heaven and the damned for descent into hell. The canvas is a precious testimony to the Lombard school of painting between the 16th and 17th centuries, attributable to the Cremonese painter Antonio Maria Viani (Cremona, 1550 - Mantua, 1635): our subject is specifically extrapolated from the splendid work entitled “The Trinity with the Last Judgement” conceived by Viani himself and then made famous by the engraving by Jan Sadeler (https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/168116/) (Ref. 1). Our canvas is therefore a derivation of the large composition, from which the figure of Saint Michael has been extracted to make him the sole subject. There are two known versions of the entire composition by Viani, one in Naples at the Complesso Monumentale dei Girolamini (Ref. 2 - oil on copper, 49.5x36 cm), the other at the Pinacoteca Stuard in Parma (Ref. 3 - oil on canvas, 59 x 48 cm, https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=204916). The latter canvas is very similar in style to our Saint Michael: we can see the same formal elegance and marked inclination towards Mannerism, even in terms of colour, typical of Viani, which initially developed in Cremona, his hometown, under the tutelage of Giulio Campi and consolidated during his stay at the court of Munich, in the service of Duke William V. During his time in Bavaria, his style absorbed elements from the taste of Nordic artists such as Friedrich Sustris and Peter de Witte, integrating the Italian tradition with a search for scenographic effects typical of European courts. ADDITIONAL INFORMATION: The work sold is completed by a pleasant antique 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 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/