Galleria Castelbarco
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
  • View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)
View Of Venice With The Grand Canal, Antoine Bouvard (l'isere 1875 - Paris 1957)

5800 €


Antoine Bouvard, called Marc Aldine (L'Isere 1875 - Paris 1957) Signed 'Bouvard' lower right View of Venice with the Grand Canal (link) oil on canvas  60 x 86 cm Framed 70 x 96 cm. Very good condition We present an evocative view of Venice with a glimpse of the fascinating Grand Canal, signed by the famous French Vedutist Antoine Bouvard, also known by his pseudonym, Marc Aldine. Considered one of the most talented illustrators of the lagoon city who worked there in the first part of the 20th century, he became one of the most acclaimed vedutists of that period, with a success that led him to exhibit throughout France and Italy as well as in numerous European galleries. Very well executed, characterised by a light luminosity and a colour range of delicate hues, enhanced by the contrast between light and shadow, our canvas is a very interesting testimony to his painting. His Venetian views are bathed in a kind of fluidity that caresses the volumes with great delicacy, capturing all the atmosphere and charm of what is considered the most fascinating city in the world through an incredible selection of colours and a magical light effect. The author has here excellently expressed his extraordinary painting skills with an atmosphere imbued with poetry, which lends itself well to defining the unique characteristics that distinguish each and every view of Venice. The canvas is in excellent condition. ADDITIONAL INFORMATION: The work is sold complete with a nice frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In case of purchase of the work by non-Italian clients it will be necessary to obtain an export permit, which takes about 10/20 days, our gallery will take care of the whole phase until it is obtained. All costs of this procedure are included. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/          
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Galleria Castelbarco
Address:
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
Leda And The Swan, French Painter Of The Late 18th

Leda And The Swan, French Painter Of The Late 18th

French painter of the late 18th-early 19th century Leda and the Swan (Literary source: Metamorphoses by Ovid, Book VI) Oil on canvas 95 x 126 cm Framed 109 x 142 cm This charming painting, originally intended to adorn the rooms of a private residence, depicts the beautiful Leda, queen of Sparta and wife of King Tyndareus, victim of Zeus' deception. According to the myth, the King of the Gods fell madly in love with her and decided to win her over, but in order to approach her without arousing suspicion, he took the form of a magnificent swan, taking advantage of her vulnerability while she was resting on the banks of the river Eurotas. The queen, struck by the beauty of the swan, welcomed him into her arms, thus ending up being seduced by Zeus, who joined her: from the encounter, desired by both parties, an egg was born, from which her children Helen and Pollux came into the world. In Greek mythology, Leda and the Swan is undoubtedly one of the most fascinating stories, inspiring many artists since the Renaissance, with depictions full of eros, where the fusion between the human and the divine is manifested in sensual and ambiguous forms. In the past, this subject was also attributed great symbolic value, often identified as an allegory of carnal love, and more specifically, the success of this iconography was linked to the transferred image of the coupling between man and woman, covered by the allegory of the myth. Finally, as regards attribution, this is a splendid work that can be linked to a romantic artist, presumably French, active between the 18th and 19th centuries, who was able to treat this mythological theme with a sensual image of nudity. In the 18th century, with Neoclassicism, thanks to artists such as Jacques-Louis David, there was a growing interest in the artistic nude, a celebration of ideal beauty, and the representation of the female body gave paintings such as this one an intense and sensual atmosphere. Moving on to the 19th century, nude poses, perhaps combined, as in our case, with pleasant mythological subjects, achieved particularly appreciated results. In France in particular, women painted through the realism of their bodies conveyed their sensual physicality, such as the models of Courbet and Ingres, modelling them according to the canons of beauty of classical nudes. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful 19th-century 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/
Gentleman In Armour, Hyacinthe Rigaud (perpignan 1659 - Paris 1743) School

Gentleman In Armour, Hyacinthe Rigaud (perpignan 1659 - Paris 1743) School

Hyacinthe RIGAUD (Perpignan 1659 - Paris 1743) School of Portrait of a gentleman in armour: Monsieur Jean Francois Raymond de Lasbordes, Regimental Officer of the Landes, as well as Knight of the Royal and Military Order of Saint Louis Place and date of execution: Huningue (Alsace, France) 20 August 1723 Oil on canvas 71 x 58 cm In a fine period frame 94 x 80 cm The painting examined here, depicting a gentleman in armour and dating from around the early 18th century, can be attributed to a painter from the school of Hyacinthe RIGAUD (Perpignan 1659 - Paris 1743), one of the most significant portraitists of his time and a great exponent of the French school, who worked almost exclusively at the courts of Louis XIV and then Louis XV. The portrait, in particular, which can be identified as the French gentleman and military officer Monsieur Jean Francois Raymond de Lasbordes, displays with ostentatious pride his military honour as a member and knight of the French Order of Saint Louis, as evidenced by the pin he wears on his chest. The Order of Saint Louis (full name: Ordre Royal et Militaire de Saint-Louis) was a French military order founded on 5 April 1693 by Louis XIV and named after Saint Louis (Louis IX). It was reserved as a reward for deserving officers and is usually known for being the first decoration to be awarded to non-nobles. It is considered the ancestor of the Legion of Honour, with its members performing the same functions. It is a work of remarkable formal and aesthetic elegance. Note the meticulous rendering of the facial features, the sharpness of the contours emphasised by the light and the expressive power of the eyes. The face is characterised by chiaroscuro passages that realistically reproduce light and its effects, rendered with great skill. The image displays the typical characteristics of French celebratory portraiture, with a formula often used by Rigaud and his studio for portraits of members of the French aristocracy, presented in half-length profile, in this case slightly turned to the right, with the gaze fixed on the viewer. Hyacinthe RIGAUD (Perpignan, 1659 – Paris, 1743) was a French painter of Catalan origin. In 1682, he won the Prix de Rome, a scholarship that allowed him to study at the French Academy in Rome, but on the advice of Charles Le Brun, he gave up the prize and concentrated on his work as a portrait painter. At the court of Louis XIV, he found favour with ambassadors, clergymen, courtiers and businessmen, who posed for him. His portraits, sumptuous yet austere, are now also appreciated as a source for the history of costume and fashion, as, in addition to their physiognomic resemblance, they capture the details of clothing and furnishings. Rigaud's most famous work is the official portrait of King Louis XIV (signed and dated 1701), kept at the Louvre Museum (a copy, also made by the artist at the request of the king, can be found at the Palace of Versailles). He became a member of the French Academy in 1700 and in 1701 was appointed painter to the king. In 1709, he joined the nobility of his hometown and in 1727 was appointed Knight of the Order of Saint Michael. ADDITIONAL INFORMATION: The work is sold complete with a pleasant 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, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Large Mirror, Florentine Woodcarver Early 18th Century

Large Mirror, Florentine Woodcarver Early 18th Century

Large mirror made by a Florentine woodcarver working in the early 18th century (it can be hung on the wall in either direction) Tuscany (Florence) Louis XIV style Carved and gilded wood Maximum dimensions: 135 x 119 cm. (mirror 94 x 79 cm.) Good condition, small defects and losses, mirror with a slight scratch This is a prestigious, large parade mirror, richly carved and gilded with leafy scrolls, a notable example of the decorative repertoire typical of Louis XIV, with particularly sumptuous elements in the carving, typical of the Baroque period of Tuscan cabinet-making, from the end of the 17th or the beginning of the 18th century. This work of art, with its beautiful architectural design, can add further importance and elegance to a prestigious environment, and is intended for those who wish to own a precious and unique object. The density of the decoration is a characteristic element of the evolution of the Baroque style, as an emblem of splendour and power. From a structural point of view, the carving consists of spiral volutes and carved acanthus leaves, emphasised by the exceptional thickness of the frame and the concentration of the carving. Frames of similar workmanship, richly carved with leafy scroll motifs, were widespread in the 17th century: for comparison, see those in the Palatine Gallery in Florence, the links to which are given below: - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900295654 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900295714 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900295714 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900295629 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900295866 - https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900641833 ADDITIONAL INFORMATION: We organise and take care of the shipment of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the mirror in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In the case of a purchase by a non-Italian client, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Portrait Of A Knight In Armour, Venetian School, Early 17th Century

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

Venetian School, early 17th century Portrait of a knight in armour The inscription at the top, ‘MAR...DIT...VICO’, is only partly legible Oil on canvas. 81 x 71 cm. - Framed: 93 x 83 cm Full details of the painting (click HERE) A charming gentleman in armour, immortalised in an authoritarian and proud pose, is the subject of our portrait, of good quality and painted by an artist belonging to the northern Italian, Venetian culture of the early 17th century. Although emphasis is given to his role as a knight, the pose is regal, portrayed perfectly in profile, flanked by a plumed helmet resting on a table, while wearing rich ceremonial armour. Both in terms of composition and style of representation, the work is part of the long tradition of military portraiture typical of the 16th century, not far from the results achieved by Titian, with an elegant and mannerist mixture of styles, between his Venetian character, timid Tuscan influences and Nordic suggestions. Numerous stylistic clues link this painting to the figurative culture of Verona at the turn of the 16th and 17th centuries, and in particular to the work of Felice Brusasorci (Verona, 1539 – Verona, 1605), son of Domenico, who was active in Verona, Mantua and Vicenza. ADDITIONAL INFORMATION: The work is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In the event of the work being purchased by a non-Italian client, it will be necessary to obtain an export permit, which takes approximately 10/20 days; our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Rape Of Europa, Francesco Albani (bologna 1578 - 1660) Circle Of

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

Francesco Albani (Bologna 1578 - 1660) Circle of The Rape of Europa oil on canvas 46 x 63 cm. with gilded wooden frame (19th century) 70 x 85 cm. FULL DETAILS OF THE ARTWORK (CLICK HERE) This elegant work depicts, through a composition of great dynamic effect, an episode from Greek mythology that tells of one of Jupiter's many amorous adventures; it is the abduction of Europa, daughter of the king of Tyre, a city in Phoenicia, as described by the Latin poet Ovid in his Metamorphoses (Met. II, vv. 846-875). This work can be attributed to an artist who followed the stylistic and compositional models of the Bolognese Francesco Albani (Bologna 1578 - 1660), presumably active within his close circle in the 17th century or at the latest in the early years of the following century. A pupil of Annibale Carracci, Albani is considered, together with Domenichino and Guido Reni, to be one of the major exponents of Bolognese classicism, extremely sought after by the cultured clientele of the time. Thanks to a style characterised by idyllic compositions, and therefore pleasing to the more intimate taste of his clients, the majority of the work produced by Albani's workshop is to be found in the field of mythological paintings. Looking at the canvas in detail, we see the agitated moment when Zeus, having transformed himself into a bull, kidnaps the beautiful Phoenician princess Europa as he flees towards the island of Crete. The girl, dressed in a long deep blue robe, is overwhelmed by the event and looks towards her handmaidens still on the shore. She is holding on to the horns of the bull, which is running with great force and passion through the rough waves of the sea, while four fluttering cherubs help the cunning Zeus in his endeavour: one is supporting the princess, another is holding the reins of flowers and the last is holding up a fluttering red cloth, a habit often used by Albani to emphasise movement. The composition, in particular, draws inspiration, albeit with variations, from the Rape of Europa kept at the Uffizi Gallery, created by Albani in 1639 for Count Angelo Oddi of Perugia (https://it.m.wikipedia.org/wiki/File:Rape_of_Europa_-_Francesco_Albani.jpg). Many versions were based on the Uffizi version, given that the canvas remained in Albani's workshop for a long time. These include the one in the Roman collection of the Marquis Patrizio Patrizi, and also the versions in the Louvre and the Colonna Gallery in Rome. These compositions were extremely well received by critics and were highly praised by European collectors for their aesthetic and decorative value. In our case, the canvas is accompanied by a beautiful 19th century carved and gilded wooden frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, through professional and insured carriers, both in Italy and abroad. In the case of a work being purchased by a non-Italian client, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. 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/
Christ And Mary Magdalene At The Banquet Of The Pharisee, Benedetto Luti

Christ And Mary Magdalene At The Banquet Of The Pharisee, Benedetto Luti

Benedetto Luti (Florence, 1666 - Rome, 1724) Christ and Mary Magdalene at the banquet of the rich Pharisee Simon Oil on canvas (73 x 46 cm. - Framed 93 x 67 cm.) Full details of the painting (click HERE) During a banquet in the house of the rich Pharisee Simon, at which Jesus and his disciples were present, a woman, sincerely repentant of her sins and who tradition has always identified as Mary Magdalene, came with a jar of perfumed oil (Gospel according to Luke, VII: 36-38); she stopped behind him, crouched at his feet and began to bathe them with tears, then dried them with her hair and finally kissed them, perfuming them with the precious ointment. The Pharisee criticised Jesus for allowing such a sinful woman to touch him, but Jesus, turning to the woman, said to her: ‘Your sins are forgiven. Your faith has saved you; go in peace’. To the Pharisees, on the other hand, he replied with these words: “Her many sins have been forgiven, for she loved much. But he who is forgiven little, loves little”. The episode is extremely significant, symbolising two totally opposite approaches to life, and the painting is conceived as a dramatic conflict between the Pharisees and Jesus: the world of material values and religious dogmatism of the Pharisees is opposed to the Christian world of sublime ideas and noble acts, a world of sympathy, charity and goodness. Certain of the justice and morality of their position, Jesus and his disciples, in accepting the words of their master, oppose the Pharisees, whose faces express a lack of understanding, annoyance and even anger. The painting, of excellent quality, is compared with a canvas painted by the Florentine painter Benedetto Luti in about 1692 for the Florentine knight Giovanni Niccolò Berzighelli (oil on canvas, 305x198 cm), shortly after his arrival in Rome, as attested by three letters exchanged between Benedetto and his teacher D.A. Gabbiani, now in the English collection of Viscount Scarsdale at Kedleston Hall in Derbyshire. URL: https://artuk.org/discover/artworks/christ-and-mary-magdalene-in-the-house-of-simon-172138; A pupil of Maratta in Rome and one of the protagonists of Roman painting between the end of the 17th and the beginning of the 18th century, he developed his own personal style that led him to be one of the finest and most precocious interpreters of Rococo painting, highly appreciated and in demand. Our canvas is therefore a version, presumably painted by the master himself or by one of his trusted collaborators, that differs from the English one in that it shows the parade plates behind the Christ. This additional detail is similar to the other version attributed to Benedetto Luti and now in the National Gallery of Umbria, Palazzo dei Priori (https://catalogo.cultura.gov.it/detail/HistoricOrArtisticProperty/1000016641). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. In the case of a work being purchased by a non-Italian client, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Madonna And Child, Workshop Of Andrea Del Sarto (Florence 1486 - 1530)

Madonna And Child, Workshop Of Andrea Del Sarto (Florence 1486 - 1530)

Madonna and Child Workshop of Andrea del Sarto, pseudonym of Andrea d'Agnolo di Francesco (Florence 1486 - 1530) Attributable to Jacopo di Giovanni di Francesco, known as Jacone (Florence, 1492 - 1554) Oil on panel (72 x 56 cm. - In frame 109 x 94 cm.) Provenance: Sotheby's New York, 29.01.2016, Master Paintings Sale, lot 426, as Jacopo di Giovanni di Francesco, known as Jacone (Florence, 1492 - 1554) - estimate ($30,000 - $40,000) - LINK Full details of the work (click HERE) The painting in question, which can be dated to the mid-sixteenth century, depicts the Madonna lovingly supporting the Infant Jesus with both hands. The infant, who looks directly at us with a knowing yet timid smile, is tenderly clinging to his mother, using her left leg for support. He appears distracted by our presence and his sudden twist brings the painting to life. The plastic style, incisive but formally harmonious and well balanced, allows us to categorise the painting as one of the most beautiful works of the Florentine Renaissance. By dwelling on the details it is easy to trace the work back to the workshop of Andrea del Sarto (Florence 1486 - 1530), one of the most outstanding exponents of this period, defined by Vasari as a painter ‘without errors’, praising his formal perfection, speed and confidence of execution. His style, characterised by a notable compositional balance and a high level of formal control, had a great influence on 16th century Florentine painters, so much so that it was considered fundamental for the genesis of the ‘manner’, combining in an exceptionally harmonious way the pyramidal scheme typical of Raphael's Madonnas with the monumentality of the figures derived from Michelangelo. Focusing on the refinement of the poses, especially that of the baby Jesus, and on the vivacity of the chromatic material, the sacredness of the image is softened by the spontaneous gestures between the two characters, which make one think of a scene from everyday life, rather than a religious image. The graceful expression of the child, who looks at the observer with a lively air, also testifies to the domestic destination of the work. In works like this, the new approach to sacred art was substantially contained, deeply immersed in the innovative spirit of the new Florentine ruling class, aimed at reconciling the religious aspect with the profane one. Specifically, the painting in question, to be placed around the first half of the sixteenth century, was sold by Shoteby's New York (Master Paintings & Sculpture Day Sale - 29 January 2016), not yet restored, as attributed to Jacopo di Giovanni di Francesco, known as Jacone (Florence, 1492 - 1554), who trained in the workshop of Andrea del Sarto, of whom he was a close friend and collaborator. Jacone, who was an exponent of a unique and eccentric style of painting and was one of the most creative artists trained in Andrea del Sarto's studio, clearly shows in our painting the influence of his master Andrea del Sarto, but also that of his contemporaries, Rosso Fiorentino and Pontormo, who were also pupils of Del Sarto. Although his identity as an artist is less defined than that of some of his contemporaries, Jacone was well known to Giorgio Vasari, who described in detail his dissolute lifestyle, as well as his fantastic graphic ability. Given the similarity of the drawing style and the use of colour, we are led to believe that the painting in question was painted by Jacone immediately after the death of his master Andrea, to whom he was very attached and whom he greatly admired, therefore around 1530-40 (as also hypothesised by Christie's), chronologically close to the large altarpiece of the Madonna and Child with Saints Francis and Sebastian (Pinacoteca Comunale, Città di Castello, Umbria), where the facial prototypes of the Virgin and Child are similarly distinct. Vasari notes that the artist produced a number of depictions of the Madonna, which were quickly exported to France by expert Florentine mediators, no doubt to satisfy the taste in that country for such depictions, motivated by his master del Sarto's brief stay there in 1518-19. ADDITIONAL INFORMATION: The painting is sold with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We organise and take care of the shipment of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
St Jerome, Alessandro Bonvicino, Known As Moretto (brescia, C. 1498 – 1554)

St Jerome, Alessandro Bonvicino, Known As Moretto (brescia, C. 1498 – 1554)

Sixteenth-century Lombard school Workshop of Alessandro Bonvicino, known as Moretto (Brescia, c. 1498 – 1554) St Jerome Oil on canvas 81 x 68 cm. - In a fine antique frame 98 x 85 cm. Provenance: Pandolfini Florence, 29 September 2020 (16th century Lombard school, lot 161, estimate €10,000 / 15,000) https://www.pandolfini.it/uk/auction-1005/scuola-lombarda-sec-xvi-1-12020006477 Full details of the work (Click HERE) A valuable depiction of St Jerome, a doctor of the Church who lived between the 4th and 5th centuries, portrayed here according to the typical iconography that shows him in the dual role of penitent hermit in the desert and humanist intent on reading, in a deserted and wild landscape at the end of which there is a view of a city, symbolising the contrast between nature and civilisation. The multifaceted figure of St Jerome, hermit, penitent, cardinal and fine humanist, who translated the Bible into Latin, was very popular in Lombardy between the 15th and 16th centuries, the supreme example of the harmony between classical knowledge and Christian virtue. He was therefore a favourite subject for a refined and cultured audience, and was often illustrated in small works intended for private devotion. His intensely pensive gaze is turned towards the open book, his canonical iconographic attribute, referring to his fruitful activity as a scholar and theologian, which made him the forerunner of the Renaissance humanist. It is a work of remarkable quality in terms of illustrative clarity, pictorial refinement and chromatic sensitivity, a testimony of the mature Renaissance, painted in the Lombardy area around the end of the sixteenth century, and specifically indebted to the models conceived by Alessandro Bonvicino, known as il Moretto (Brescia, c. 1498 – 1554), one of the leading artists of the early Renaissance in Brescia, who repeatedly tackled the subject in a variety of illustrative ways. Devotional paintings such as this were among Bonvicino's most important works, and the fact that there are no other images that are strictly analogous to this one, suggests that the canvas should be included in the extremely complex catalogue of works produced by the workshop, presumably under the supervision of the master himself. The Venetian influence is strongly felt in the work: both the painting style and the colour scheme, in which the bright green of the drapery enveloping the Saint is the dominant colour, are elements that recall the works of Titian. Behind Saint Jerome, beyond the space of a window, we can see a wide hilly landscape with a clear sky, characterised by a vivid blue, typical of the artist from Brescia, with just a few clouds. The figure of St Jerome frequently appears in the painter's works, many of which have been lost, but traces of which remain in literary sources; in particular, the chromatic, light and tonal intonation of the image, although more composed and traditional, may recall the St Jerome in Meditation of the Borromeo collection at Isola Bella dated between 1540 and 1545 (fig.1 - https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00086/). The figure, the face and the attitude evoke the St Luke of the Chapel of the Sacrament in St John the Evangelist (fig.2 - https://catalogo.beniculturali. it/detail/HistoricOrArtisticProperty/0300044732), while the type of tunic with the knot on the shoulder can be found in one of the apostles in the Assumption of the Old Cathedral (fig. 3 - https://it.m.wikipedia. org/wiki/File:Assunzione_della_Vergine_%28Moretto_Duomo_vecchio%29.jpg), or in the Madonna with Child and St Jerome from a Private Collection (fig. 4 - https://it.m.wikipedia.org/wiki/File:Madonna_con_bambino_e_san_Girolamo.jpg). These clues therefore seem to confirm the close relationship between the work and the artist's production. We organise and take care of the shipment of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Announcing Angel, Carlo Maratta (camerano, 1625 – Rome, 1713) Workshop

The Announcing Angel, Carlo Maratta (camerano, 1625 – Rome, 1713) Workshop

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century frame Posthumous inscription on the back with an inappropriate date and name: ‘Sarnelli 1730’ Full details of the work (Click HERE) The proposed work depicts the Archangel Gabriel as he is about to make the supreme announcement to the Virgin, offering her the canonical white lilies, symbol of purity and chastity: it is a splendid subject, realised with great stylistic quality, probably commissioned for private use and therefore particularly pleasant and easy to place. The Angel has the appearance of a young man of rare beauty, with delicate features, wrapped in a white tunic with soft drapes, all characterised by an intense classicism, where a balanced composition directs the observer's attention to his face. Observing the stylistic characteristics of pleasing quality, both from the point of view of compositional invention and from the point of view of execution, and the elegance of the design, we are led to attribute it to a painter of Roman origin active between the end of the 17th century and the beginning of the following century. In particular, the work can be attributed to an artist who was active in the close entourage of the master Carlo Maratta (Camerano 1625 - Rome, 1713), one of the greatest exponents of 17th century classicism, or to an artist who was active in his flourishing Roman workshop. The canvas clearly highlights the master's typical qualities, with a style capable of calibrating the taste of classicism - the figure is distinguished by an idealised beauty, which draws its basis from the ‘classic’ models of Guido Reni - with a baroque devoid of excesses, two apparently contrasting tendencies that Maratta was able to reconcile with surprising results. Thanks to the exceptional critical and collector's fortune, his works constituted an absolute reference model, a paradigm of a pictorial style balanced in all its components (design, colour, composition, iconography), making it a point of reference in the Roman art scene. A hard-working group of pupils and followers gravitated around the master, and even today it is very difficult to distinguish, from an attributive point of view, the compositions replicated by the author from those instead entrusted to the pupils, especially those intended for easy distribution and therefore appreciated on the market. ADDITIONAL INFORMATION: The painting is sold complete with a nice wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Francois Boucher (paris, 1703 - 1770), The Surprised Lovers/the Pleasant Le

Francois Boucher (paris, 1703 - 1770), The Surprised Lovers/the Pleasant Le

Francois Boucher (Paris, 1703 - 1770) - workshop/circle - Pair of paintings The Surprised Lovers (Les amants surpris)/The Pleasant Lesson ('LAgréable Leçon) 18th century Oil on canvas 46 x 39 cm - Framed 71 x 61 cm All the details of the two works (click HERE) We present this splendid pair of paintings, works by a French painter from the circle of Francois Boucher (Paris, 1703 - 1770), one of the most admired and successful artists in mid-18th century France, and depicting a riot of the canons of the Rococo period - the most delicate, light and at the same time elegant of styles - capable of interpreting the peculiarities of French society of the Ancien Régime in painting. Particularly well known for his idyllic, Arcadian, sensual and intimately amorous paintings, Boucher had the ability to delight French aristocrats thanks to the subtle ironic intent of his scenes. The two compositions, painted around the 18th century by an artist from his workshop, are part of a series dedicated to pastoral themes, depicting joyful children, always immersed in bucolic environments, engaged in romantic activities. Love, represented in all its lightness and as a hymn to joy, was always emphasised by erotic facets, and our paintings also contain symbols and allusions that would have been clearly understood and read by the spectators of the time. The first, ‘the pleasant lesson’, comes from a painting by François Boucher (1748; oil on canvas, 92x78 cm, National Gallery of Victoria, Melbourne, URL: https://www.ngv.vic.gov.au/explore/collection/work/3803/) in which a pair of young shepherds are immersed in an Arcadian environment; they are intent on watching over their flock of sheep, while the young man lets his companion play the flute, not without ambiguity, capturing the playful spirit much loved in the French court of the time. The detail of the ruined fountain is noteworthy, on whose pediment you can read the words ‘Fountain of Truth’, surmounted by a splendid stone lion with its head raised, image and icon of faith and strength. The second painting, ‘The Surprised Lovers’, is also based on a painting by François Boucher, now lost, but known from the famous engraving by René GAILLARD (https://collections.louvre.fr/ark:/53355/cl020557780) The painting shows the same amorous dynamics, capturing an intimate and romantic moment between a young couple of lovers, hidden in a wooded area among uncultivated grass, the perfect place for a secret rendezvous. The two lovers are embracing, and while the young man seems intent on whispering something sweet to her, they are interrupted by a farmer with a scythe in his hand and his dog, traditionally alluding to amorous skill, barking at their feet. Looking at the scenes, the overwhelming sensation is one of grace, emphasised by the graceful poses of the protagonists and the masterful use of the colour palette, where the colours are light and bright. Francois Boucher and his workshop dedicated a large part of their activity to this type of subject, the symbol par excellence of the frivolous pleasures of life to which the aristocratic class aspired, thanks to the great fame of the master and the copious requests from collectors. Our works are to be attributed to a pupil or an assistant of the painter. ADDITIONAL INFORMATION: The paintings are sold complete with 2 attractive gilded frames and are accompanied by a certificate of authenticity and descriptive iconographic sheet. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the paintings in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, without obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)

The Pietà, Giovan Bernardo Lama (Naples, 1536-1600 Ca.)

Giovan Bernardo Lama (Naples, 1536-1600 ca.) The Pietà oil on panel 51 x 41 cm. Antique frame (defects and faults) 66 x 56 cm. Full details of the work (click HERE) Observing the exquisite quality and the elegance of the design of this intense 16th century Pietà, we can compare its execution to the most refined works of late Neapolitan Mannerism: in particular, there are many points of contact with the style of Giovan Bernardo Lama (Naples, 1536-1600 ca.), to whom we can easily attribute its authorship, whose flourishing workshop took up this subject in numerous variations. A great exponent of the Italian Renaissance, active mainly in Naples, Lama was inspired by a purely Raphaelesque culture. He trained around 1550 in the workshop of Polidoro da Caravaggio, who had arrived in Naples during the sack of Rome in 1527. The arrival of Giorgio Vasari in Naples was also decisive for his painting, thanks to that new language that had already conquered Rome. And it was precisely Vasari and the Tuscan-Roman styles, appropriately filtered by the tearful and compassionate expressionism of Luis de Vargas, that influenced the Lama's first attempts. In the painting proposed here, our author has been able to render the moment of Christ's death in an extraordinary way, demonstrating precision, realism and emotional depth in the interpretation of the sacred union between the Madonna and Christ, through a masterful play of contrasts of colours, light and shadow. The pietistic and devotional style of Counter-Reformation painting is evident: the representation, of great dramatic effect, shows Christ, after being taken down from the cross, welcomed into the arms of the Virgin. The intense maternal compassion is revealed in the expression on her face which, aware of her son's destiny, exudes suffering, but also calm resignation. The work is a version, made for domestic devotion, of the Lama altarpiece sold at Sotheby's New York (25 January 2001) and now in the basilica of San Giacomo degli Spagnoli in Naples (see image in detail), made around the 1560s. URL https://it.m.wikipedia.org/wiki/File:Giovanni_Bernardo_Lama_-_La_Piet%C3%A0.jpg The Pietà in the Church of Saints Severinus and Sosius (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500217826) is very similar. Great visual impact, solemn composition, strong colours and figures with sculpted features are the characteristic elements of this Michelangelo-style Pietà, which depicts a more incisive moment in the life of Christ. ADDITIONAL INFORMATION: The painting is sold complete with an antique gilded frame that has been repaired, restored and has defects, and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Pair of antique Flemish painting 18th - 19th century Self-portraits of Pierre Paul RUBENS (Antwerp 1599 - London 1641) and Anthoon van DYCK (Antwerp 1599 - London 1641) Oil on panel 23 x 19 cm. (each) Framed 40 x 33 cm. (each) Complete details of the works (click HERE) A pair of antique paintings that reproduce the two famous self-portraits of the two greatest masters of the Golden Age of Flemish painting, Rubens and Van Dyck: the works, painted on oval panels and enriched by two beautiful golden wooden frames, are of pleasant impact and of great decorative value. It was very fashionable among art collectors between the 18th and 19th centuries to decorate their homes and palaces with copies of the most ancient and famous paintings; these works of art were chosen for their decorative value, and are still perfect for placing in a living room or study. Finely painted, they are precise replicas of the most famous self-portraits of the two painters. The first is the self-portrait of Pierre Paul Rubens painted between 1623 and 1625, kept at Windsor Castle, made for the Prince of Wales, the future Charles I, King of England, who wanted to have an effigy of the famous painter in his collection. The second is a self-portrait by Anthoon van Dyck dated 1632, currently at the Uffizi Gallery in Florence. In both works the subjects are portrayed wearing dark, sober but fashionable clothes made of precious fabrics, typically worn by men belonging to the upper middle class or knights at that time. They have no attributes that allude to their profession, although they wear gold chains, alluding to the success and wealth they had achieved in life. Without doubt, both images of the two Flemish masters were copied many times and were widely circulated, also through numerous engravings. ADDITIONAL INFORMATION: The paintings are sold complete with 2 attractive antique gilded wooden frames and are accompanied by a certificate of authenticity and a descriptive iconographic sheet. We organise and take care of the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. In case of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes about 10/20 days. Our gallery will take care of the whole process until it is obtained. All costs for this procedure are included. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/