Galleria Castelbarco
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
  • King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)
King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)

9700 €


Ignatius de Ríes (Seville, 1612 - Seville, 1661) attributable King David playing the harp Oil on canvas 137 x 102 In frame 150 x 112 cm. Full details of the work (click HERE) At the centre of the canvas emerges the majestic figure of one of the great biblical characters, King David, in a moment of intimate devotion: his expert fingers gracefully pluck the strings of a harp, the instrument he used to sing the praises of the Lord, allowing us to imagine the notes floating in the air. His gaze is turned upwards as if he were drawing inspiration directly from the heavenly spheres: according to tradition, with this instrument the king not only entertained his court, but also had the mystical power to drive away tormented spirits and bring relief to the soul (as happened to King Saul). It is a portrait of a king, a poet and a musician, whose soul sings divine praises through music, offering a powerful and fascinating insight into the link between art, faith and royalty. We see him portrayed in a majestic position, highlighting his proverbial virtues: royal authority (the crown, the splendid sumptuous and regal robes with the ermine cloak) and his love of poetry in music (the notes written in the book and the precious finely carved lyre). An interesting detail is the legible notes on the open book and the phrase “Laudate Dominum omnes gentes, laudate eum” (Praise the Lord, all peoples, praise him), which often resounds in the psalms and Christian liturgy and indicates universal praise to God, focused on the figure of King David, a central figure in the Old Testament, loved by God and promised an eternal kingdom. The laurel branch, which Baroque art loved to include in its portraits, also elevates his intellectual and artistic stature, as tradition attributes the composition of the Psalms to him, and he is therefore often portrayed as the “poet par excellence” of the Bible. From an attributive point of view, we can place this splendid canvas in the finest tradition of 17th-century Spanish Baroque, specifically in the circle of Francisco de Zurbarán, a leading figure of Seville's “Siglo de Oro” (Golden Age), a fundamental artistic hub known for its mystical and austere style, influenced by Caravaggio's realism, and for its solemn and monumental paintings of great religious figures. His work is characterised by a very eclectic style, in the use of chiaroscuro and a descriptive technique that pays great attention to the quality of the details. Our painting is a perfect example of this, given the attention to the rendering of the clothing, as well as the jewels adorning King David, all belonging to a repertoire frequently found in the works of Zurbarán and his circle. In particular, analysis of the various details allows us to link its execution to the Sevillian Ignacio de Ríes (Seville, 1612 - Seville, 1661), one of his most talented pupils and capable of achieving very high levels of quality. We can easily compare our King David with other portraits by the painter, including San Fernando (Ferdinand III of Castile and León) attributed to Ignacio de Ries, dated around 1655-1665 and currently in Seville City Hall (fig. 1, https://it.wikipedia.org/wiki/File:Rey_Fernando_III.jpg ), and again the same subject as ours, King David, which De Ries painted around 1650, now in the Prado Museum in Madrid (image 2. https://www.museodelprado.es/coleccion/obra-de-arte/el-rey-david/163068e6-ff29-41c3-bbe7-fa0ce5e2b69... ); both works reveal significant similarities and are striking for their delicacy and the quality of the modelling, achieved through subtle gradations of colour tones and a sophisticated use of light and shadow; the anatomical precision and emotional atmosphere are also noteworthy. ADDITIONAL INFORMATION: Restoration and repainting of the surface. The images were taken using a professional photographic set and lighting. The work is sold complete with an antique frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
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View Of Rome With St. John Lateran, Giacomo Van Lint (Rome 1723 - 1790)

View Of Rome With St. John Lateran, Giacomo Van Lint (Rome 1723 - 1790)

Giovanni Giacomo Van Lint (Rome 1723 - 1790) Attributed View of Rome with the Basilica of St. John Lateran (for full details, click HERE) Oil on canvas 50 x 62 cm - in frame 61 x 74 cm The work belongs to a series of three paintings, together with views of the Trevi Fountain (link) and Piazza Navona (link). This splendid view of Rome, depicting the Basilica of St. John Lateran and the adjacent Lateran Palace, is of excellent quality and is attributed to the Roman landscape painter Giovanni Giacomo Van Lint (Rome 1723 - 1790). It is one of the iconic monuments of the Eternal City, the official ecclesiastical seat of the Pope and therefore considered the “mother of all churches in the world”. The monumental façade, designed by Alessandro Galilei in the 18th century, features statues of Christ (the central figure at the top of the façade), Saints John the Baptist and John the Evangelist, and the Doctors of the Church. The view is characterised by its bright colours, with the light of the sun fading, instilling a delicate sense of chromatic tranquillity, a stylistic feature typical of the mature phase of our painter, who achieved a solid reputation as a landscape painter by depicting the city of Rome with topographical accuracy. The painting, in particular, is derived from an engraving by the famous Giuseppe Vasi (Corleone 1710 - Rome 1782), taken from the monumental collection entitled “Delle magnificenze di Roma antica e moderna” (The Magnificence of Ancient and Modern Rome), featuring the most beautiful views of the Eternal City, which ensured him great fame, thanks above all to the always original and prospectively captivating style of his compositions and his never predictable choice of subjects. Giuseppe Vasi, who reveals the fullness of his graphic creativity in this monumental work, became an important point of reference for landscape painters working in Rome: it was customary for artists of the time to refer to his prints - as was the case in Venice with Visentini's engravings - in order to create accurate iconographies of places. Views such as ours, in particular, were created by Giovanni Giacomo Van Lint to satisfy collectors and refined travellers, especially English, German and French, who visited the city during their “Voyage d'Italie”, eager to possess a “souvenir” image of Rome in its most relaxed and characteristic dimension. For this reason, he became a much-admired painter and was very successful among foreigners visiting Rome, who bought up small-scale views and landscapes that were easier to transport, so much so that almost all of his paintings are now in private European collections, particularly in the UK. Reference bibliography: A. Busiri Vici, 'Peter, Hendrik and Giacomo Van Lint. Three painters from Antwerp in the 17th and 18th centuries working in Rome', Bozzi publisher, Rome 1987. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
View Of Rome With Piazza Navona Floode, Giacomo Van Lint Rome 1723 - 1790

View Of Rome With Piazza Navona Floode, Giacomo Van Lint Rome 1723 - 1790

Giovanni Giacomo Van Lint (Rome 1723 - 1790) Attributed View of Rome with Piazza Navona flooded Oil on canvas 50 x 62 cm - framed 61 x 74 cm The work belongs to a series of three paintings, together with the views of the Trevi Fountain (lien) and St. John Lateran (link) Full details of the work (click HERE) This splendid view of Rome, depicting the famous flooded Piazza Navona, is of excellent quality and is attributed to the Roman landscape painter Giovanni Giacomo Van Lint (Rome 1723 - 1790). It is a very interesting historical document, immortalising one of the now obsolete summer traditions that have written the history of the Eternal City, namely the so-called “lake” in Piazza Navona. since 1652, by order of Pope Innocent X, every Saturday and Sunday in August, the square, thanks to its concave bottom, was flooded, creating a large swimming pool to cool nobles and commoners during the summer heat. The view is characterised by its bright colours, with the light of the sun tending to fade, instilling a delicate sense of chromatic tranquillity, a stylistic aspect typical of the mature phase of our painter, who achieved a solid reputation as a landscape painter by depicting the city of Rome with topographical accuracy. The painting, in particular, is derived from an engraving by the famous Giuseppe Vasi (Corleone 1710 - Rome 1782), taken from the monumental collection entitled “Delle magnificenze di Roma antica e moderna” (The Magnificence of Ancient and Modern Rome), featuring the most beautiful views of the Eternal City, which ensured him great fame, thanks above all to the always original and prospectively captivating style of his compositions and his never predictable choice of subjects. Giuseppe Vasi, who reveals the fullness of his graphic creativity in this monumental work, became an important point of reference for landscape painters working in Rome: it was customary for artists of the time to refer to his prints - as was the case in Venice with Visentini's engravings - in order to create accurate iconographies of places. Views such as ours, in particular, were created by Giovanni Giacomo Van Lint to satisfy collectors and refined travellers, especially English, German and French, who visited the city during their “Voyage d'Italie”, eager to possess a “souvenir” image of Rome in its most relaxed and characteristic dimension. For this reason, he became a much-admired painter and was very successful among foreigners visiting Rome, who bought up small-scale views and landscapes that were easier to transport, so much so that almost all of his paintings are now in private European collections, particularly in England. Reference bibliography: A. Busiri Vici, 'Peter, Hendrik and Giacomo Van Lint. Three painters from Antwerp in the 17th and 18th centuries working in Rome', Bozzi publisher, Rome 1987. ADDITIONAL INFORMATION: The work 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. 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/
King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)

King David Playing The Harp, Ignatius De Ríes (seville, 1612 - 1661)

Ignatius de Ríes (Seville, 1612 - Seville, 1661) attributable King David playing the harp Oil on canvas 137 x 102 In frame 150 x 112 cm. Full details of the work (click HERE) At the centre of the canvas emerges the majestic figure of one of the great biblical characters, King David, in a moment of intimate devotion: his expert fingers gracefully pluck the strings of a harp, the instrument he used to sing the praises of the Lord, allowing us to imagine the notes floating in the air. His gaze is turned upwards as if he were drawing inspiration directly from the heavenly spheres: according to tradition, with this instrument the king not only entertained his court, but also had the mystical power to drive away tormented spirits and bring relief to the soul (as happened to King Saul). It is a portrait of a king, a poet and a musician, whose soul sings divine praises through music, offering a powerful and fascinating insight into the link between art, faith and royalty. We see him portrayed in a majestic position, highlighting his proverbial virtues: royal authority (the crown, the splendid sumptuous and regal robes with the ermine cloak) and his love of poetry in music (the notes written in the book and the precious finely carved lyre). An interesting detail is the legible notes on the open book and the phrase “Laudate Dominum omnes gentes, laudate eum” (Praise the Lord, all peoples, praise him), which often resounds in the psalms and Christian liturgy and indicates universal praise to God, focused on the figure of King David, a central figure in the Old Testament, loved by God and promised an eternal kingdom. The laurel branch, which Baroque art loved to include in its portraits, also elevates his intellectual and artistic stature, as tradition attributes the composition of the Psalms to him, and he is therefore often portrayed as the “poet par excellence” of the Bible. From an attributive point of view, we can place this splendid canvas in the finest tradition of 17th-century Spanish Baroque, specifically in the circle of Francisco de Zurbarán, a leading figure of Seville's “Siglo de Oro” (Golden Age), a fundamental artistic hub known for its mystical and austere style, influenced by Caravaggio's realism, and for its solemn and monumental paintings of great religious figures. His work is characterised by a very eclectic style, in the use of chiaroscuro and a descriptive technique that pays great attention to the quality of the details. Our painting is a perfect example of this, given the attention to the rendering of the clothing, as well as the jewels adorning King David, all belonging to a repertoire frequently found in the works of Zurbarán and his circle. In particular, analysis of the various details allows us to link its execution to the Sevillian Ignacio de Ríes (Seville, 1612 - Seville, 1661), one of his most talented pupils and capable of achieving very high levels of quality. We can easily compare our King David with other portraits by the painter, including San Fernando (Ferdinand III of Castile and León) attributed to Ignacio de Ries, dated around 1655-1665 and currently in Seville City Hall (fig. 1, https://it.wikipedia.org/wiki/File:Rey_Fernando_III.jpg ), and again the same subject as ours, King David, which De Ries painted around 1650, now in the Prado Museum in Madrid (image 2. https://www.museodelprado.es/coleccion/obra-de-arte/el-rey-david/163068e6-ff29-41c3-bbe7-fa0ce5e2b69... ); both works reveal significant similarities and are striking for their delicacy and the quality of the modelling, achieved through subtle gradations of colour tones and a sophisticated use of light and shadow; the anatomical precision and emotional atmosphere are also noteworthy. ADDITIONAL INFORMATION: Restoration and repainting of the surface. The images were taken using a professional photographic set and lighting. The work is sold complete with an antique frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Saint George And The Dragon, Alessio Baldovinetti (Florence, 1427 - 1499)

Saint George And The Dragon, Alessio Baldovinetti (Florence, 1427 - 1499)

Alessio (or Alesso) Baldovinetti (Florence, 1427 – Florence, 1499) circle Saint George and the Dragon Oil on panel 32 x 42 cm Framed 47 x 57 cm Provenance: Hampel Munich, 31 March 2017, lot 854 (Alesso Baldovinetti, circle, €10,000–15,000) https://www.hampel-auctions.com/a/Alesso-Baldovinetti-1425-Florenz-1499-Umkreis.html?a=109&s=550.... This interesting painting, executed in oil on wood, depicts the triumph of Saint George, a noble knight of the Christian faith, whose amazing adventure against the dragon, imbued with symbolic meanings in the struggle between Good and Evil, has always been a favourite theme in art: during the Renaissance, it allowed both chivalrous and religious ideals and values to be portrayed. 'One day, a terrible dragon appeared in the kingdom of Silene, whose destructive force could only be contained by human sacrifice. It was the “soldier of Christ” who killed the dangerous beast and saved the king's daughter from the monster's jaws. As a reward, he asked for neither honours nor money, but that all the people convert to Christianity and be baptised." In the painting, Saint George, both saint and knight, is captured at the moment of his triumph over the dragon, as he pierces it with his spear. He is depicted according to traditional iconography, riding his steed, dressed in shining armour and a crested helmet, while his iridescent red cloak appears to be billowing in the wind, enhancing the dynamism of the sculptural figure. In the background, the princess is seen praying in terror, imploring her salvation. Analysis of the characters allows us to attribute the work to a Renaissance painter of Tuscan culture, specifically Florentine, although the pictorial styles are more archaic and refer to earlier painting. In particular, the work bears a traditional attribution to the Florentine Alessio Baldovinetti (Florence, 1427 - Florence, 1499), an Italian painter and draughtsman of the early Renaissance, known for his clear and accurate style and innovative use of light based on the models of Paolo Uccello, Giovanni di Francesco and Andrea del Castagno. The bright and contrasting colour palette, the narrative expression that skilfully renders the fairy-tale atmosphere of the episode and the particular interest in the landscape are elements that support this association with the painter, specifically in the late phase of his long career. Very good condition, with restoration and repainting. ADDITIONAL INFORMATION: The work sold is completed by a pleasant frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be happy to welcome you and show you our collection of works. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. 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/
Battle Between Christian And Turkish Cavalry, Marzio Masturzo

Battle Between Christian And Turkish Cavalry, Marzio Masturzo

Marzio Masturzo (Active in Naples and Rome in the second half of the 17th century) Attributable Battle between Christian and Turkish cavalry Oil on canvas 78 x 144 cm - 99 x 162 cm in frame Reference bibliography: Sestieri G., ‘I pittori di battaglie. Maestri italiani e stranieri del XVII e XVIII secolo’ (Battle painters. Italian and foreign masters of the 17th and 18th centuries), Ed. De Luca 1999 Complete details of the work (click HERE) The painting depicts a heated battle scene between Christian and Turkish cavalry, set in a vast plain near a fortified city. The scene, characterised by marked dynamism and expressive force, immortalises the two sides in the heat of battle, while lifeless bodies, scattered weapons and wounded horses lie on the ground, heightening the drama of the clash. The scene - which captures all the energy of the clash with a complex and well-balanced composition - the ample descriptive space assigned to the setting, the colour palette, as well as the way in which the characters are depicted, allow us to attribute our painting to a painter active in Naples in the mid-17th century. The battles of Neapolitan painters are often enhanced by intense colours and vivid, marked brushstrokes, with bright reds and blues standing out, suggesting to the observer the crucial point of the conflict, with the characteristic swirling clouds rising from the clash. The canvas, in particular, recalls the pictorial results of the artistic production of Marzio Masturzo, an emblematic exponent of the genre of Italian “battle painters” of the 17th century, active in Naples and then in Rome in the second half of the 17th century. A distinctive feature of this scene is the depiction of the combat in the foreground, described with realism, excellent pictorial quality and careful direction, which highlights the vortex of violence that reaches its peak in the centre of the canvas, with the two opposing knights, in a surprisingly realistic tone. Another typical feature of the Neapolitan artist is the presence of side wings created by fortified hills dominated by fortresses and castles, sometimes inspired by real buildings, which, together with clouds and black smoke, create a sort of stage presence around the space of the clash. In our canvas, a fortification with round towers stands out on the right, evoking the Maschio Angioino, which the painter described several times, often with interpretative variations. The canvas can be compared to several other works in his oeuvre, as can be seen in some of the comparative images below, characterised by the same elements, including similar speed of execution, caricatured physiognomies and side wings with towers, such as those in Palazzo Barberini. Works of certain attribution (including the battle in the National Gallery in Rome, https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200252356, fig. 1) testify to the painter's closeness to Salvator Rosa, of whom he was a pupil and friend, but also to the early phase of Jacques Courtois, known as Il Borgognone. We can also see these parallels in the “Combat between Turkish and Christian Knights”, signed MM on the back and published in Sestieri's monograph (p. 388 n. 9, fig. 2). Among Masturzio's works comparable to ours, we would particularly like to mention the paintings of the same subject in two private collections, one in Parma (https://catalogo.fondazionezeri.unibo.it/scheda/opera/86110/, fig. 3) and the other in Modena (fig. 4), as well as the Battle Scene, also depicting a clash between Christian and Turkish cavalry, catalogued in the Zeri Photo Library under number 84536 (https://catalogo.fondazionezeri.unibo.it/scheda/opera/86459/, fig. 5). All three of these works reproduce, in a context of precise compositional similarities, the central figure of the warrior on a white horse charging towards the enemy, pistol in hand, from our painting. ADDITIONAL INFORMATION: Good condition, complete with gilded and lacquered frame. The work is sold complete with certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, where we will be happy to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Saint Sebastian, Circle Of Daniele Crespi (milan 1597 C. -1630)

Saint Sebastian, Circle Of Daniele Crespi (milan 1597 C. -1630)

Early 17th-century Lombard painter Daniele Crespi (Busto Arsizio, 1597-1600 – Milan 1630), Circle of Saint Sebastian oil on canvas Dimensions: 82 x 60 cm. In frame 100 x 79 cm. Full details of the painting (click HERE) Saint Sebastian, soldier and martyr of Christ, is an evocative figure who appears with incredible frequency in art as one of the most frequently depicted saints in the Catholic Church. Protector against pandemics, formerly believed to be signs of divine wrath imposed on the world for its sins, he was therefore depicted copiously, especially between the 16th and 17th centuries. Immortalised at the moment of his martyrdom, following his death sentence imposed by Diocletian, the saint is depicted here with great realism: the scene, faithful to classical iconography, portrays him tied to a tree trunk, with his hands clasped and raised above his head, suffering with an arrow piercing his flesh. The composition focuses attention on the saint's muscular anatomy and his expression: often depicted as a beautiful naked young man with a light drapery around his hips, he became a pretext for artists in the Renaissance and Baroque periods to represent the aesthetic ideal of the male body. Rather than a suffering martyr, he sometimes appeared as a classical hero, with an “ambiguous charm” that made him particularly appealing to art lovers. Although traditional iconography depicts him pierced by arrows, only one is visible in this particular painting. The focus is entirely on the emotional expression and anatomical rendering of the body, struggling between life and death. The intensity that emanates from his body is emotionally powerful, illuminated by a strong light that emphasises his figure and illuminates his body and face with his eyes turned towards the sky, in an ardent sentimental expression of dramatic anticipation. The marked realism traces its authorship back to the Lombard school of painting of the early 17th century, an extraordinarily fruitful artistic period which, in the first half of the century, saw a succession of excellent artists, making Milan one of the most influential centres of Italian painting of the time in every respect. The characteristics of the canvas, and in particular the physiognomic features of the face, marked by a strong pathos, are elements that recall the style of Daniele Crespi (Busto Arsizio 1598 – Milan 1630), one of the leading exponents of 17th-century Milanese art, with a painting style that seems to gradually detach itself from the still fashionable Mannerist trend, moving towards a Carracci-inspired classicism. ADDITIONAL INFORMATION: The images were taken using a professional photographic set and lighting . The work is sold complete with an attractive 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. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Idyll Between Dionysus And Ariadne, Antoine Coypel (Paris 1661 - 1722)

Idyll Between Dionysus And Ariadne, Antoine Coypel (Paris 1661 - 1722)

Antoine Coypel (Paris 1661 - 1722) Workshop Idyll between Dionysus and Ariadne Oil on canvas 78x 101 cm In frame 97 x 120 cm Complete details of the work (click HERE) This delightful composition illustrates the myth of the love between Ariadne and the god Dionysus, a classic theme much appreciated and recurrent in Baroque and Rococo art because it is linked to hedonism and love: the episode was in fact represented as a pretext to praise the joys of life's pleasures (wine, love, sensuality) in contrast to the fleeting nature of time, often associated with the Renaissance concept of “Carpe Diem”. The work derives, albeit varying in some respects, from one of the best-known compositions by Antoine Coypel (Paris 1661 - 1722), commissioned by the Duke of Orléans in 1693, brother of King Louis XIV, to decorate the study of the Château de Saint-Cloud. It is now housed in the Philadelphia Museum of Art (oil on canvas, 73 x 85.5 cm; inv. no. 1990-54-1). The composition immediately became very popular and therefore there are several copies, studies and period prints. Another version, oil on copper and smaller in size, is kept at the Hermitage Museum in St Petersburg. The artist himself made an engraving of it in 1693, contributing to its dissemination. Various prints and copies can be found in museums and private collections, including a print kept at the Certosa and National Museum of San Martino in Naples. Going into the details of the composition, it depicts the love affair between the god Dionysus, called Bacchus by the Romans, and the beautiful Ariadne, daughter of Minos, king of Crete, as described by classical sources and in particular by the Latin poet Ovid (Metamorphoses, book VIII). Ariadne was deceived and abandoned on the island of Naxos by the young Athenian hero Theseus, with whom she was in love and whom she had helped to defeat the terrible Minotaur. After learning of her beloved's betrayal, the princess began to despair relentlessly until her sad lament reached the ears of the god Bacchus who, when he saw her, was captivated by her beauty, fell madly in love with her and decided to take her as his wife. Behind her, with a lit torch, is depicted Fame, who enshrines her everlasting memory in the constellation that will take its name from her. The canvas, which draws on the classical source, is set in an idyllic landscape on the coast of the island, at the moment when Bacchus arrives followed by his procession of nymphs and satyrs, with one hand on his heart and the other grasping Ariadne's arm to propose marriage to her. Dionysus and Ariadne Antoine Coypel (painter), Gérard Audran (engraver) Rijks Museum, Amsterdam ADDITIONAL INFORMATION: The work 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, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Apollo, Cornelis Van Haarlem (Haarlem 1562–1638) Works

Apollo, Cornelis Van Haarlem (Haarlem 1562–1638) Works

Cornelis Cornelisz. van Haarlem (Haarlem 1562–1638)Workshop Apollo tending the flocks of Admetus Oil on canvas 93 x 69 cm In frame 92 x 116 cm Details of the painting (click HERE) The foreground is dominated by the powerful figure of the Greek god Apollo, dressed in a single drape that leaves most of his athletic body uncovered: the god of the arts and music holds his lyre, one of his most iconic attributes, in his hands; with the same arm, he holds a shepherd's crook: an unusual tool for this deity, but one that allows us to understand the particular episode in which he is involved. The subject refers, in particular, to the mythical episode in which Apollo was punished by Zeus for exterminating the Cyclopes and forced to serve a mortal for nine years: his sentence was to protect, as a shepherd, the flocks of King Admetus (king of Pherae, in Thessaly). This particular episode is very interesting because it also tells us about the origin of the lyre as an instrument sacred to the god: in the Homeric hymns, it is said that Hermes, messenger of the gods, played a joke on Apollo: he stole his sheep and then used the intestines of some of them to create a lyre. When Apollo, enraged, managed to track him down, he fell in love with this instrument with its heavenly sound and left Hermes the cattle in exchange for the lyre, which then became one of his most iconic symbols. As for the origin of the painting, it is easy to attribute its authorship to a Flemish school artist active between the 17th and 18th centuries, but still linked to the culture of the late Mannerist period, with strong Italian influences. This explains its attribution to the workshop of Cornelis van Haarlem (Haarlem 1562–1638), one of the most representative artists of Northern Mannerism and one of the founders of the so-called “Haarlem School”, an important painting movement active in this Dutch city, whose members favoured mythological subjects, known for their powerful and muscular figures, dynamic compositions and bright colours, in keeping with the Italian Mannerist style. In particular, the painting draws inspiration from an iconographic prototype created by Bartholomaeus Spranger: observing one of his works entitled “Without Ceres and Bacchus, Venus cools down” (Sine Cerere et Baccho Friget Venus), it is possible to see how the powerful figure of Bacchus, distinguished by a virile pose and highly emphasised musculature, has been extrapolated to give him the identity of Apollo instead. It is well known that the members of this movement, primarily Cornelis van Haarlem, were strongly influenced by Spranger, who was known for his elongated figures, especially nudes, and whose works were widely distributed through prints. “Without Ceres and Bacchus, Venus grows cold”, Jan Muller, Dutch (print), from Bartholomeus Spranger, circa 1597 Link: https://www.metmuseum.org/it/art/collection/search/366421 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 https://www.facebook.com/galleriacastelbarco/
The Artist's Studio, Gerard Thomas (Antwerp 1663-1720) Attributed To

The Artist's Studio, Gerard Thomas (Antwerp 1663-1720) Attributed To

Gerard Thomas (Antwerp 1663-1720) Attributed to The Artist's Studio Oil on canvas (99 x 115 cm - in frame 70 x 86 cm) Full details of the painting (click HERE) This fascinating painting, depicting the interior of an artist's studio, is attributable to Gerard Thomas (Antwerp 1663-1720), a late Flemish Baroque painter known for his genre paintings depicting the interiors of artists' studios, art galleries, and scenes of alchemists or physicians in their studies. He was born in Antwerp, where he trained as an apprentice and became a master of the Guild of Saint Luke in 1688-89, later holding the position of dean, the most prestigious position. This theme is influenced by the tradition of the wunderkammer (literally “chamber of wonders” or “cabinet of curiosities”), which spread among noble and intellectual residences between the 16th and 18th centuries, anticipating the modern concept of the museum and stimulating the desire of wealthy Flemish merchants to collect and display rare and precious objects alongside works of art of all kinds. Our beautiful work, in particular, executed around the early 18th century, is a fine example of his production: we see an important artist in his studio, surrounded by three young apprentices eager to learn the secrets of the painter's craft, practising painting on canvas and drawing from sculptural models. A version similar to ours in composition and quality can be found in Rome, in the collection of Palazzo Doria Pamphilj. *Gerard Thomas, The Artist's Studio, Doria Pamphilj Gallery Rome, inv./cat. no. 541 https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F257711 What makes these paintings special is the wealth of detail with which the painter enriches the setting, revealing a taste for depicting opulent, elegantly furnished bourgeois interiors that alluded to both the wealth and artistic sensibility of the wealthy patrons. The setting is a capriccio of objects related to the art and culture of the time, skilfully displayed, including a Persian carpet on the desk, a beautiful celestial globe on a pedestal, an antique classical marble vase decorated with bas-reliefs, and many sculptures (one can recognise the sculptural group with two wrestlers, positioned above a bas-relief altar, reminiscent of those in the Uffizi Gallery), drawings and sketches scattered haphazardly around the room. Finally, the room is dotted with numerous paintings, one of which is recognisable as a “Boar Hunt” by the Flemish master Frans Snyders, who specialised in this genre, and was specifically included by the painter as a cultured reference. In addition to being the artist's “signature” objects (we find the same detail in the boar hunting scene), which we find in his other works, they are symbols identifying the client, alluding to his social superiority and wealth, his professionalism, his culture, and his passion for art, in short, attributes intended to demonstrate his “social status”. By way of comparison, let us look at some of the master's works now housed in various museums, including: - Gerard Thomas, The Artist's Studio, Galleria Doria Pamphilj (fig.1) - Gerard Thomas, The Painter's Studio, Royal Museum of Fine Arts Antwerp (fig.2) - Gerard Thomas, Interior of a Painter's Studio, Sotheby's Amsterdam, 9 November 1999, lot 64, (fig. 3) - Gerard Thomas, The Artist's Studio, Sotheby's London, 12 March 1999, sold for €58,106 (fig. 4) - Gerard Thomas, A Collector in his Workshop, Royal Collection (fig. 5) - Gerard Thomas (1663-1720), Sculptor's Studio/The Tax Collector's Visit, Alte Pinakothek München (fig. 6/fig. 7) - Gerard Thomas, A Sculptor's Studio, Dorotheum Vienna, 15/10/1996, lot number: 134 (fig. 8) (fig. 1) https://research.rkd.nl/nl/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F257711 (fig.2) https://kmska.be/en/masterpiece/the-painters-studio (fig.3) https://rkd.nl/images/54442 (fig.5) https://www.rct.uk/collection/406900/a-collector-in-his-cabinet (fig.6/7) https://www.sammlung.pinakothek.de/de/artwork/JzG6RDMGWO https://www.sammlung.pinakothek.de/de/artwork/Qm45JalxNo/gerard-thomas/der-besuch-beim-steuereinnehm... (fig.8) https://rkd.nl/images/10783 The painting is in good condition and comes with an antique black lacquered frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Saint Michael Expels The Angels, Roman School, 17/18th Century

Saint Michael Expels The Angels, Roman School, 17/18th Century

Saint Michael the Archangel expels the rebellious angels from paradise (probably a preparatory sketch) Roman school, 17th/18th century Oil on canvas 99 x 73 cm Framed 119 x 94 cm Full details of the work (click here) The subject of this fascinating canvas is taken from the Last Judgement, an extremely rare subject that has always been particularly popular in painting, as it allowed artists to experiment with contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by a sumptuous theatricality. In particular, here we see the expulsion of the rebellious angels by Saint Michael the warrior: the Archangel is depicted in his armour with outstretched wings, striking the damned with force, who gradually transform into demons as they fall into the underworld. The Archangel Michael dominates the scene, enveloped in divine light and surrounded by celestial clouds symbolising the separation between the heavenly kingdom and hell. Below him, a tangle of naked bodies falls in various positions: they writhe, collide, overlap, and try to find their place in the flood of flesh flowing from top to bottom. Some of them fall on their backs, others with their heads down, and still others have reached the underworld, enveloped by the coils of hellish snakes and taking on the appearance of demons. Baroque painting loved this type of subject matter, with religious scenes characterised by great emotional tension, treated with great pathos and immediacy. To achieve drama, artists used powerful contrasts of light and shadow (chiaroscuro), diagonal compositions and swirling lines, which immersed the viewer in a theatrical and engaging visual experience. This painting is not only a work of art but also a manifesto of the struggle between good and evil, a recurring theme in art history that continues to inspire artists and enthusiasts. The fascinating canvas follows a descriptive structure that makes it recognisable as a valuable preparatory sketch, a study for a larger altarpiece or, more likely, for a more complex fresco; this would therefore suggest that the final work was intended to decorate the main bay of a private chapel. It is a work that reflects the characteristics of the Roman school between the 17th and 18th centuries: the colours are warm and bright, the colour range is clear and soft, and the brushstrokes are quick but precise, all typical elements of this period, with strong influences from the Flemish artists who populated the papal city. The rendering of the drapery and the musculature of the bodies are typical characteristics of Flemish art of this period, a sign of the expert hand of a highly skilled painter, although it is difficult to identify the author with precision. However, it is clear that the work was influenced by the illustrative models typical of this period, influenced by the Mannerist tradition of artists such as Cavalier d'Arpino, Andrea Commodi and Scipione Compagno, who tackled this subject on numerous occasions. Of great interest, and certainly a source of inspiration for our artist, is the famous engraving by Philippe Thomassin (1562-1622) depicting the battle between the archangel Michael and the demons, taken from a painting by Giovanni Battista Ricci (1537-1627), in which details of our painting seem to be reflected. https://www.britishmuseum.org/collection/object/P_1860-1110-249 Condition: the painting is in good condition with some restoration and repainting on the surface. ADDITIONAL INFORMATION: The work is sold complete with an antique 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 feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Giacomo Guardi (venice, 1764 – 1835) Follower, View Of Venice

Giacomo Guardi (venice, 1764 – 1835) Follower, View Of Venice

Giacomo Guardi (Venice, 1764 – Venice, 1835) follower View of Venice with the Basilica della Salute and the Punta della Dogana oil on canvas Dimensions: 40 x 52 cm. framed 48 x 60 cm. Complete details of the work (click HERE) This beautiful view of Venice, executed with great finesse, features the Basilica of Santa Maria della Salute as the protagonist of the representation, with its large dome dominating the entrance to the Grand Canal, with the Punta della Dogana on the left end, which joins the San Marco Basin. This painting was created by an artist with great skill in landscape painting, who can be found among the talented followers of Giacomo Guardi (Venice, 1764 – Venice, 1835), son and pupil of the famous landscape painter Francesco Guardi. His production mainly consists of small-format compositions, intended to satisfy the demands of collectors and refined foreign travellers who, during their Grand Tour, wanted an elegant souvenir of the lagoon city. Their small size allowed them to be transported along with luggage, while now these small “postcards” have become highly sought after and appreciated by modern collectors. We can compare the painting on offer with the canvas “Venice, Chiesa della Salute with Punta della Dogana” (Follower of Guardi Giacomo, Fondazione Cariplo Collection, Imm.1) Link: https://commons.wikimedia.org/wiki/File:Artgate_Fondazione_Cariplo_-_Guardi_Giacomo_(seguace_di),_Ve... The style of the painting is modelled on his modus pingendi, both in terms of the treatment of the water, the boats and even the small figures, all of which testify to his profound knowledge of his father's style, albeit interpreted in his own personal way. His distinctive feature, which we find perfectly reflected in the canvas on display, is his choice to abandon wide views in favour of a more reduced perspective, “cutting out” a cameo of his father's very wide perspective views. As we can see by comparing the canvas with the same view immortalised by Francesco Guardi (Santa Maria della Salute church in Venice, Musée Toulouse-Lautrec, Imm.2), the view is narrowed and the church overlooking the waters of the lagoon is chosen as the protagonist of the canvas. Link: https://commons.wikimedia.org/wiki/File:(Albi)_L%27%C3%A9glise_Santa_Maria_della_Salute_%C3%A0_Venis... The view, in excellent condition, intact and with scattered retouching, is enriched by a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold complete with a pleasant Venetian-style gilded 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. In the event of purchase of the work by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. 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 feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
SOLD
Giovanni Agostino Cassana (venice 1658 - Genoa 1720), Still Life

SOLD

Giovanni Agostino Cassana (venice 1658 - Genoa 1720), Still Life

Giovanni Agostino Cassana (Venice after 1658 - Genoa 1720) Still life with a pair of gallinaceous birds Oil on canvas 81 x 63 cm - Framed 100 x 81 cm Full details of the work (CLICK HERE) Provenance: Sotheby's Milan, 07/06/2000, lot 199 (estimate €10,000 - 15,000), see photographic details - Published in: Naturalia. Nature morte in collezioni pubbliche e private (Still lifes in public and private collections), edited by G. Bocchi and U. Bocchi, Turin, 1992, p. 155 NB: please note that the painting is darker in real life than in the photos published here, which were taken using professional lighting. The painting in question, entitled ‘Still Life with a Pair of Gallinaceous Birds’, is attributed to Giovanni Agostino Cassana (Venice post 1658 - Genoa 1720). The canvas, published in the volume “Naturalia. Still lifes in public and private collections”, edited by G. Bocchi and U. Bocchi, immediately catches the eye with its intense realism, with the birds hanging upside down, tied by their legs, standing out against a dark, neutral background. It is a masterpiece of painting that allows the artist to masterfully use light and shadow to enhance the texture of the feathers, the brown and black colours of the plumage and the vivid red details of the heads. The anatomical precision and material rendering are remarkable. The genre of still life, dedicated to game, achieved great popularity in the 17th century, especially in the Flemish but also in the Italian context, facilitated by the influence of painters such as Jan Baptist Weenix and Willem van Aelst who stayed in Italy, but with stylistic and symbolic differences: the Flemish often incorporate religious symbolism linked to the transience of life (memento mori), while Italian paintings tended to focus more on plastic and compositional realism, with an emphasis on the materiality of the subjects depicted. The vibrant sensation conveyed by the appearance of these two gallinaceous birds reaches an exceptional expressive vehemence here, certainly captured outdoors and acquired through a free and loose but meticulous Italian-style technique, both in the lighting and in the warm, intense colour it emanates, mixing the Nordic taste for detailed realism with Caravaggesque plasticity. 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. 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 feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/