Galleria Castelbarco
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
  • Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop
Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop

4900 €


Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm.in a small temple frame 75 x 55 cmwith an old label on the back This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch for a more complex work, or a painting intended for domestic devotion. It is a pleasant painting, although it does not illustrate any iconographic complexity, impregnated with the late Mannerist style still prevalent at the beginning of the 17th century, characterised by a gentle religiosity, rendered through a manner of studied simplicity and grace. The work is in good condition, with a sound and stable pictorial material, with some small defects and lacks, which do not affect its value. The temple-shaped frame, old but not from the period, is also in excellent condition with some signs of ageing. ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and a descriptive iconographic card. We organise and take care of the shipment of the purchased works, through professional and insured carriers, within Italy and abroad.Contact us for any information, we will be glad to answer your questions. 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. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it 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
Seascape With Sailing Ships, Marco Ricci (belluno, 1676 – Venice, 1730)

Seascape With Sailing Ships, Marco Ricci (belluno, 1676 – Venice, 1730)

Marco Ricci (Belluno, 1676 – Venice, 1730) attributed Seascape with Sailing Ships oil on canvas 55 x 84 cm - with frame 71 x 100 cm Full details of the work (click HERE) This evocative coastal view, dating from between the end of the 17th and the beginning of the 18th century, where the choppy waves of the sea crash impetuously against the coast, can be attributed to the painter Marco Ricci (Belluno, 1676 – Venice, 1730), one of the founders of 18th century Venetian landscape painting. In his personal expressive style, especially in the initial phase of his painting, the tendencies of landscape painting present in Italy at the end of the 17th century converge, and in particular his debt to foreign landscape painters working in Venice at the end of the 17th century, such as Johan Anton Eismann, Luca Carlevarijs or Pieter Mulier, known as Il Cavalier Tempesta. Several scholars have hypothesised that Marco Ricci may have travelled to Rome at the turn of the century, where he had the opportunity to see first-hand the paintings of Salvator Rosa, one of the greatest landscape painters of all time, whose works were also present in the homes of the Venetian patriciate of the time. Finally, in this maze of stylistic references we cannot fail to mention the Genoese Alessandro Magnasco, from whom we see an increasingly rapid and loose brushstroke, which he acquired during his stay in Milan in the last decade of the 17th century. The linguistic references just mentioned can be found in many paintings that can be traced back to an early phase of our painter's career (therefore presumably still in the 17th century), to which it would be advisable to also place our canvas: In fact, there are still strong links with 17th-century landscape painting, particularly in the use of strong, dark, almost iron-like tones, and very accentuated chiaroscuro contrasts, with dark-coloured clouds cluttering up the sky. The influence of Magnasco's painting (to whose hand our canvas was previously linked) is evident, especially in the small figures of fishermen in the foreground extracting a fishing net from the water, and we can compare the characters with the Stormy Sea with Shipwrecked Sailors, North Carolina Museum (https://catalogo.fondazionezeri.unibo.it/scheda/opera/68587/), where the powerful brushstrokes almost make us perceive the roar of the waves crashing against the reef. Therefore, based on the stylistic characteristics, we cannot exclude the collaboration of the Genoese painter in some details. ADDITIONAL INFORMATION: The work is sold complete with a pleasant 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, with no obligation, for any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)

Portrait Of The Duchess Vittoria Farnese d'Este, Jan Van Gelder (antwerp 1621 – Modena 1685)

Jan van Gelder, italianizzato Giovanni Vangheldri (Anversa 1621 – Modena 1685) Ritratto della duchessa Vittoria Farnese d’Este (Parma, 1618 – Modena, 1649) moglie di Francesco I d'Este, duca di Modena e Reggio Olio su tela (72 x 55 cm. - In cornice antica 92 x 77 cm.) Elegante ritratto della duchessa Vittoria Farnese, figlia di Ranuccio I Farnese, duca di Parma e Piacenza e di sua moglie e di Margherita Aldobrandini, nipote di Giovanni Francesco Aldobrandini, principe di Rossano e di papa Clemente VIII. L’illustre effigiata venne data in sposa a Francesco I d'Este, duca di Modena e Reggio, ed il sontuoso matrimonio, che si tenne a Parma nel 1648, venne celebrato nei poemi dei grandi poeti del tempo, tra cui Giuliano Cassiani e Flaminio Calvi; durante le celebrazioni, venne messo in scena il balletto "La Vittoria d'Imeneo", scritto dal compositore Benedetto Ferrari in loro onore. L’autore immortala la nobildonna a mezzo busto e di tre quarti, con un abito scuro di grande eleganza adorno di diversi fili di perle, presentata con uno sguardo fiero ma gentile, come voleva la tradizione del tempo: durante il suo regno riuscì infatti a guadagnarsi il rispetto dei suoi sudditi per la sua pietà e generosità. Il dipinto, realizzato nella prima metà del Seicento, è da accostare ad un autore vicino al pittore Justus Sustermans (1597 - 1681), ritrattista fiammingo, noto per i suoi ritratti di membri dei Medici, di cui divenne pittore di corte, e della famiglia d’Este. In particolare, il nostro dipinto è attribuibile alla mano di Jan van Gelder (Anversa 1621 – Modena 1685), primo nipote di Justus Sustermans e chiamato dallo stesso Modena nel 1649 per far parte della sua bottega, rivestendo ufficialmente il ruolo di copista dei ritratti dei principi d’Este da inviare ad altre corti per scopi diplomatici. Van Gelder servì la corte anche sotto il ducato di Francesco II, e gli inventari estensi riportano numerosissime sue opere. Spettano a van Gelder le copie di alcuni ritratti di Sustermans, tra questi proprio Vittoria Farnese d’Este, oggi al Palazzo Ducale di Modena (imm.1 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800270782). Possiamo anche menzionare l’opera della collezione privata della Banca Popolare dell’Emilia Romagna, che potrebbe agevolmente ricondurre allo stesso van Gelder (imm.2 https://www.lagalleriabper.it/collezioni/ritratto-di-vittoria-farnese/) Questa tipologia di opere, spesso replicate in svariate occasioni, avevano il compito di divulgare le fattezza dei regnanti e venivano da essi donati ai sottoposti in segno di particolare favore o spediti in segno di amicizia agli esponenti delle altre casate. INFORMAZIONI SUPPLEMENTARI: L’opera venduta viene corredata di certificato di autenticità e garanzia. Ci occupiamo ed organizziamo il trasporto delle opere acquistate, sia per l'Italia che per l'estero, attraverso vettori professionali ed assicurati. È anche possibile vedere il dipinto nella galleria di Riva del Garda, saremo lieti di accogliervi per mostrarvi la nostra raccolta di opere. In caso di acquisto dell'opera da parte di clienti non italiani sarà necessario ottenere un permesso per l'esportazione che richiede circa 10/20 giorni, la nostra galleria si occuperà di tutta la fase fino all'ottenimento. Tutti i costi di tale procedura sono inclusi. Contattateci, senza impegno, per qualsiasi informazione aggiuntiva. Seguiteci anche su : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop

Holy Family With The Infant St John, Ippolito Scarsella (ferrare, Vers 1550 - 1620) Workshop

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm.in a small temple frame 75 x 55 cmwith an old label on the back This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch for a more complex work, or a painting intended for domestic devotion. It is a pleasant painting, although it does not illustrate any iconographic complexity, impregnated with the late Mannerist style still prevalent at the beginning of the 17th century, characterised by a gentle religiosity, rendered through a manner of studied simplicity and grace. The work is in good condition, with a sound and stable pictorial material, with some small defects and lacks, which do not affect its value. The temple-shaped frame, old but not from the period, is also in excellent condition with some signs of ageing. ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and a descriptive iconographic card. We organise and take care of the shipment of the purchased works, through professional and insured carriers, within Italy and abroad.Contact us for any information, we will be glad to answer your questions. 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. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Allegory Of Sculpture, By Paolo Caliari, Known As Veronese (verona 1528 – Venice 1588)

The Allegory Of Sculpture, By Paolo Caliari, Known As Veronese (verona 1528 – Venice 1588)

The Allegory of Sculpture by Paolo Caliari, known as Veronese (Verona 1528 – Venice 1588) Venetian school, early 18th century Oil on copper (97 x 63 cm - with frame 110 x 74 cm) Full details of the work (click HERE) A seductive female figure, richly adorned and dressed like an ancient goddess ‘in Venetian style’, with a refined up-do, is depicted stepping on the base of a fluted column, resting her left hand on it, partly veiled. She is looking at her son, who is still breastfeeding, has just been discovered, and is presented as a small sculptor, but who still needs many lessons to finish the rough model of a satyr in clay that he is showing to his mother, holding out the stick to her as if to ask for help. The little boy, almost naked and balancing himself, also needs protection, and he places the damp clay model on the cloak to avoid getting dirty, while he too steps on the architectural frame. At the top right, in a setting of ancient ruins, a laughing head of a Satyr smiles at the scene. This excellent work was created using the oil on copper technique, characterised by the brilliant colours and intense luminosity typical of this medium, which give the work a precious and fascinating appearance. Our artist, who worked in the first part of the 18th century, has masterfully depicted this subject, referring to the series of four allegories created by Paolo Veronese (1528-1588), one of the greatest Venetian artists of the Renaissance. Specifically, he has taken the only one with a female subject, entitled ‘Allegory of Sculpture’, now kept in Verbania at Villa San Remigio. In the details, the photo of the original work together with the pendant of the Allegory of Astronomy. ADDITIONAL INFORMATION: The work sold is completed by a pleasant golden wooden frame and is accompanied by a certificate of authenticity and guarantee. We organise and take care of the shipment of the purchased items, for both 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: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Hudibras Triomphante, William Hogarth (london 1697 - 1764) School Of

Hudibras Triomphante, William Hogarth (london 1697 - 1764) School Of

18th century English painter William Hogarth (London 1697 - 1764) School of Hudibras Triomphante (from the poem by Samuel Butler) Circa 1740, England Oil on canvas (62 x 50 cm. - Framed 83 x 71 cm.) Full details (click HERE) The painting is a rare iconographic representation of a scene from the English satirical poem ‘Hudibras’, written by Samuel Butler between 1660 and 1680, and is a satire on Cromwell's supporters and the Presbyterian Church. The poem, very popular in its time, tells the story of the exploits of Hudibras, a colonel in Cromwell's army, and his squire Ralpho, both of whom are involved in various comic misadventures that reveal their stupid, greedy and dishonest character. The inspiration from Don Quixote is evident, but unlike the work of Miguel de Cervantes, Butler includes many more references to current characters and events. Illustrated versions of the poem also became popular, such as the one published in London in 1726 with illustrations by William Hogarth, a painter famous for his narrative paintings and prints that skilfully satirised and highlighted the social and moral issues of his time. Hogarth, who excelled in the creation of sequential narrative series, skilfully organising figures and symbolic elements to convey clear stories, created a series of twelve engravings illustrating the adventures of Hudibras. Our painting is taken from one of these engravings, published in 1726, entitled ‘Hudibras Triomphante’: the protagonist, showing his determination, has arrested the violinist and is taking him to prison with his hands tied behind his back, while Ralpho attaches his violin to a stump. Thus exhibited, the censored violin will be seen as a lasting reminder of the musician's misdeeds. Press release URL: https://en.wikipedia.org/wiki/Hudibras?variant=zh-tw#/media/File:Hudibras_Triumphant_-_William_Hogar... ADDITIONAL INFORMATION: The painting is sold complete with a tasteful 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. If you would like to see this or any other work in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to help. You can also follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/      
SOLD
Saint James The Greater, German Renaissance Of The Sixteenth Century

SOLD

Saint James The Greater, German Renaissance Of The Sixteenth Century

German Renaissance of the sixteenth century In the manner of Hans Baldung (Schwäbisch Gmünd, c. 1485 – Strasbourg 1545) Saint James the Greater Full details (click HERE) Oil on panel, 65 x 25 cm. Framed 85 x 46 cm. Provenance: Dorotheum Vienna, 10.09.86, lot 371 (see old label on the back of the painting) The panel in question depicts a full-length portrait of the apostle James the Greater: the saint can be identified unequivocally by the presence of his main attributes, namely the stick, the hat decorated with the characteristic shells and the cloak, all distinctive elements of the pilgrim. St James is therefore depicted as a pilgrim, and the stick in particular is the attribute that classical iconography assigns to James as an aid on the long journey made by pilgrims in Galicia, in north-western Spain, to visit his tomb. We are examining an oil on panel painting, the work of a German Renaissance artist active in the 16th century, which fully reflects the stylistic canons of the works of some painters gravitating around the prolific school of Albrecht Dürer (Nuremberg 1471 - 1528). Carefully analysing the details of the composition and the style with which they were defined, we are inclined to attribute its realisation to one of his pupils. Among them is the German Hans Baldung (1485 - 1545) who in 1503 moved to Nuremberg where he completed his training with Dürer; he is without doubt the most appropriate artist to be compared to our work, which is in turn one of the great founders of the Danube School, also influenced by Lucas Cranach, which we see reflected in our painting. The attention to colour is of primary importance in his poetics, with a very rich palette and a predilection for primary colours such as red and green, here embellished by the pale violet of the tunic. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded 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. If you would like to see this or any other work in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! 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 entire process until it is obtained. All costs of this procedure are included. Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/        
Venus, Bacchus And Ceres, Giovanni Battista Paggi (genoa 1554 – Genoa 1627)

Venus, Bacchus And Ceres, Giovanni Battista Paggi (genoa 1554 – Genoa 1627)

Giovanni Battista Paggi (Genoa 1554 – Genoa 1627) Venus, Bacchus and Ceres (Parallel title: ‘Sine Cerere et Baccho, friget Venus’) Oil on canvas 103 x 78 cm. - Framed 125 x 100 cm. ‘Sine Cerere et Baccho friget Venus’ is a Latin quotation from a comedy by Terence (2nd century BC), which became a popular Dutch proverb and which has given the title to our painting. It literally translates as ‘Without Ceres and Bacchus, Love Fades’ and its simplest level of meaning, naturally ironic, is that carnal love needs food and wine to thrive. In art it became a very popular theme especially between the 16th and 17th centuries in the Netherlands and in the circle of mannerist artists at the court of Emperor Rudolf II in Prague, as it offered the combination of a relatively intriguing classical reference and the opportunity to depict abundant nudity. Apart from their decorative character, these paintings also had an erotic connotation, which was not unusual even in a culture dominated by the restrictions of the Counter-Reformation. In our painting the seductive Venus, hungry and thirsty, is surrounded by the god Bacchus, wrapped in vine branches and passing her a bunch of grapes, and Ceres, with a crown of wheat and a cornucopia full of fruit; Love, at her side, is also hungry, as he tries to reach his mother's arm to greedily grab the grapes. In particular, we are looking at a very famous iconographic invention by the painter Abraham Bloemart (c. 1600), which was already popular at the time thanks to an engraving by Jan Saenredam (1565-1607), then taken up by numerous artists such as J. Saenredam, Joachim von Sandrart, Bartholomäus Spranger URL: https://www.lombardiabeniculturali.it/stampe/schede/MZ020-00017/ Also in Italy, especially in the northern part influenced by Flemish artists, the subject was particularly appreciated, as in our case by an artist of the Genoese school of the early 17th century. More specifically, the painting has been attributed to the Genoese artist Giovanni Battista Paggi (Genoa 1554 - Genoa 1627), who has reproduced it here in his typical refined style, well balanced with baroque exuberance. In our case we find a pleasant combination of the typically Genoese style, the Flemish style, absorbed from the rich community of other northerners active in Genoa, and the Tuscan style, assimilated during his stay in Florence that lasted over a decade. We also find in it a Caravaggesque luminism that particularly highlights the theatricality of the scene. The author of works with a mainly religious theme, his collection also includes splendid works of a mythological nature (see Venus in the Forge of Vulcan, private collection, or Venus and Cupid kissing, Banca Carige Art Collection). ADDITIONAL INFORMATION: The painting is sold complete with a tasteful frame, 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. If you wish to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Contact us for any information or to organise a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Carnival In Rome In Piazza Colonna, Roman School Of Bamboccianti (mid-17th Century)

Carnival In Rome In Piazza Colonna, Roman School Of Bamboccianti (mid-17th Century)

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88 x 110 cm. Full details of the work (click HERE) Set in a large square crowded with people in masks and costumes, the painting depicts a jubilant scene during the 17th-century Carnival of Rome, and is therefore a very interesting record of the customs of the time. The painting is set in Piazza Colonna, with a fragment of the famous column of Marcus Aurelius, entirely decorated with bas-reliefs, and surrounded by some of the most important historical buildings in Rome, in particular Palazzo Ferrajoli and Palazzo Chigi. A city event with ancient origins - inspired by the Saturnalia of the ancient Romans, in which slaves were elevated to the rank of masters, subverting the ordinary social order - the Carnival, starting from the 16th century, became one of the main celebrations of papal Rome, and one of the richest and most unbridled in Europe, and during the Renaissance it became more popular and renowned than the Venetian one. It wasn't just a celebration but an integral part of the city's culture: as in ancient times, the Roman oligarchies allowed the population, especially the lower classes, a period dedicated to fun. The entire citizenry participated, the poor mingled with the powerful, being able to publicly mock them, protected by the anonymity of the masks: a sort of levelling of all social divisions was achieved and even the public derision of the authorities and the aristocracy was authorised. People in masks paraded, disguised as the main characters of the Commedia dell'Arte, especially in the Roman style. And so Via Lata (now Via del Corso), Piazza Colonna and Piazza Venezia became the places dedicated to the unfolding of the festival, allowing the people (and also the masked gentlemen) to take possession of the officiality of the festival. Among the various painters who depicted carnival scenes, a special place is reserved for the Roman Michelangelo Cerquozzi (Rome 1602 - 1660), whose workshop we can easily trace the origins of our work to. Active mainly in Rome, Cerquozzi became known for his affiliation with the Roman Caravaggisti movement - known as the ‘Bamboccianti school’ - a pictorial movement to which Flemish, Dutch and Italian painters adhered, favouring simple themes with popular scenes drawn from the daily life of Rome at the time. And the Carnival, which lent itself perfectly to a narrative iconography of the common people, was therefore a typical subject of the ‘bambocciata’: in Cerquozzi's production there are several works with a carnival theme, preserved in various museums and collections, as well as many other authors belonging to the current, such as Jan Miel (see Carnival in Rome, 1653, Madrid Museo del Prado), Johannes Lingelbach (see Carnival in Rome, 1650/1651 Kunsthistorisches Museum). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique 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. If you would like to see this or any other work in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to help. You can also follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)

Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96 cm. - Framed 88 x 110 cm. Set in a large square crowded with people in fancy dress and costumes, the painting depicts a jubilant scene during the Carnival celebrations in 17th century Rome, and is therefore a very interesting record of the customs of the time. The painting is set in Piazza Navona, and the detail on the right of the famous Fountain of the Four Rivers designed by Gian Lorenzo Bernini is clearly recognisable, dominated by the sixteen-metre-high Agonal Obelisk, originally located in the Circus of Maxentius on the Via Appia. A city event with ancient origins - inspired by the Saturnalia of the ancient Romans, in which slaves were elevated to the rank of masters, subverting the ordinary social order - Carnival, starting from the 16th century, became one of the main celebrations of papal Rome, and one of the richest and most unbridled in Europe, becoming more popular and renowned than the Venetian carnival during the Renaissance. Not simply a festival, but an integral part of the city's culture: as in ancient times, the Roman oligarchies also granted the population, especially the lower classes, a period dedicated to fun. The entire citizenry participated, the lower classes mingled with the powerful, and could even publicly mock them; protected by the guaranteed anonymity of the masks, a sort of levelling of all social divisions was achieved and the authorities and aristocracy were even publicly derided. People in masks paraded, disguised as characters from the Commedia dell'Arte, especially in the Roman style. And so it was that Via Lata (now Via del Corso), Piazza Colonna and Piazza Venezia became the places dedicated to the unfolding of the festival, allowing the people (and also the masked gentlemen) to take possession of the officiality of the festival. Among the various painters who depicted carnival scenes, a special place is held by the Roman Michelangelo Cerquozzi (Rome 1602 - 1660), to whose workshop we can easily trace our work. Active mainly in Rome, Cerquozzi became known for his affiliation with the Roman Caravaggisti movement - known as the ‘Bamboccianti school’ - a pictorial movement to which Flemish, Dutch and Italian painters adhered, who favoured simple themes with popular scenes drawn from the daily life of Rome at the time. And the Carnival, which lent itself perfectly to a narrative iconography of the people, was therefore a typical subject of the ‘bambocciata’: in Cerquozzi's production there are several works with a carnival theme, preserved in various museums and collections, as well as many other authors belonging to the current, for example Jan Miel (see Carnival in Rome, 1653, Madrid Museo del Prado), Johannes Lingelbach (see Carnival in Rome, 1650/1651 Kunsthistorisches Museum). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique 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. If you would like to see this or any other of our works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for further information or to arrange a visit. We will be happy to help. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Dionysus (allegory Of Taste), Caravaggesque Artist Active In Rome In The 17th Century

Dionysus (allegory Of Taste), Caravaggesque Artist Active In Rome In The 17th Century

Caravaggesque northern artist active in Rome in the 17th century, active in Rome in the 17th century. Workshop of Gerard van Honthorst (Utrecht, 1592 – Utrecht, 1656) Dionysus/Bacchus (as an allegory of taste) oil on canvas 65 x 52 cm. In antique frame 82 x 68 cm. Complete details of the work (click HERE) An analysis of the composition and style of this interesting portrait, which depicts Dionysus (commonly known as Bacchus) while sipping a cup of wine, allows us to link its execution to the workshop of the Flemish painter Gerard van Honthorst (Utrecht, 1592 – Utrecht, 1656). A highly talented Dutch painter, he was a prominent member - together with Dirck van Baburen and Hendrick ter Brugghen - of the ‘Caravaggisti of Utrecht’, a group of artists who moved from the Dutch city to Rome at the beginning of the 17th century where they were fascinated by Caravaggio's painting. Profoundly influenced by the great master's innovation, on their return home they introduced the same realism in their choice of subjects and intense chiaroscuro into their own works. The close-up, almost life-size composition gives the work realism and immediacy, further enlivened by dramatic lighting effects that emphasise the ruddy complexion of our drinker. We find this type of subject in many of his compositions, thanks to which the artist acquired great fortune among collectors, in which the almost caricatural definition of the characters is accompanied by iconography of great character. Dionysus, god of wine and intoxication, has large dark eyes looking at the spectator, his lips, nose and cheeks are slightly red, and he has shoulder-length curly hair: the relaxed attitude of the figure and his grinning expression clearly indicate that he is under the influence of drink. The theme of the pleasure of food, and in particular of merry drinkers, already favoured by Italian art in the style of Caravaggio, was therefore very popular among Flemish artists, who imported these subjects to Northern Europe. We can identify many of them in the painter's catalogue, but among those most similar to the painting we are offering is ‘Young Bacchus Squeezing Grapes into a Bowl’ by the National Trust (National Trust, Hatchlands, England) or the ‘Young Man with a Flask of Wine and Cheese’ (Christie's 5 Dec 2020) and ‘Cheerful Violinist’ (Hermitage St. Petersburg). 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 shipment of the purchased works, both in Italy and abroad, through professional and insured carriers. Contact us for any information, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/          
Martin Van Meytens (1695 - 1770), Maria Theresa Of Habsburg And Francis I Of Lorraine

Martin Van Meytens (1695 - 1770), Maria Theresa Of Habsburg And Francis I Of Lorraine

Martin van Meytens (Stockholm 1695 - Vienna 1770) Portrait of Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) Portrait of Emperor Francis I of Lorraine (1708 - 1765) oil on canvas (empress) 42 x 36 - Framed 50 x 44 Oil on canvas (emperor) 40 x 34 - Framed 48 x 40 Full details of the works of art (click HERE) Our gallery is pleased to present this valuable pair of portraits depicting the Austrian Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) and her consort Francis Stephen of Lorraine (1708 - 1765). The two paintings are characterised by an executive skill that denotes the work of a very talented artist: In particular, the quality and refinement of the style make them easily attributable to the court painter Martin van Meytens (Stockholm 1695 - Vienna 1770), one of the most important portrait painters of his time, and for this reason in demand by the most prestigious European courts as well as the imperial family. A Swedish painter who became a naturalised Austrian citizen, Van Meytens became famous for having been the official portrait painter of the Viennese court (from 1732) during the golden age of the 18th century, portraying the Austrian empress and her consort on numerous occasions. His works are characterised by a precise and detailed representation of 18th century court fashion, showing exquisite lace and embroidery, and this painting is an excellent example. Maria Theresa, an enlightened sovereign, who ascended to the throne by the will of her father Charles VI of Habsburg and against the advice of European rulers, made the empire modern and competitive thanks to a series of reforms in the name of enlightened absolutism. In our canvas, the Royal Highness is dressed in a formal gown, trimmed with lace and brocade, her shoulders are wrapped in a red velvet cloak with an ermine lapel and many precious jewels, including earrings and a hair clip with drop-shaped diamonds and a precious bracelet with three strands of pearls with a portrait with a cameo with the portrait of her consort, a detail of exceptional refinement. Francis Stephen of Lorraine married Maria Theresa in 1736, thus founding the House of Habsburg-Lorraine, which held the reins of Austria and the Habsburg hereditary states until the First World War. Sixteen children were born of their union, including the future emperors Joseph II and Leopold II and the queens Maria Carolina of Naples and Marie Antoinette of France. The ruler, portrayed in a half-length portrait, is immortalised in a sumptuous ceremonial armour, topped by a cloak lined with purple velvet and ermine, closed on his chest by a precious brooch set with diamonds, which descends to cover his right arm, with which he holds the baton of command. Behind him is the crown, his royal attribute. The works are presented in excellent condition, with gilded wooden frames. ADDITIONAL INFORMATION: The paintings are sold with a certificate of authenticity and an iconographic description. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. Contact us for any information, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/            
Portrait Of A Gentleman In Renaissance Dress, Frans Pourbus (bruges, 1545 - Antwerp, 1581)

Portrait Of A Gentleman In Renaissance Dress, Frans Pourbus (bruges, 1545 - Antwerp, 1581)

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53 cm. (frame) Full details of the work (click HERE) An ancient Flemish painting, oil on canvas, depicting a distinguished gentleman immortalised according to the most classic Nordic tradition, in three-quarter view, with his gaze intently scrutinising the spectator. Looking at the details, we can see the meticulous but light rendering of the facial features, the sharpness of the outlines emphasised by the light and the extraordinary expressive power of the eyes. He is dressed in an elegant black doublet, the favourite colour of Renaissance princes, bourgeois and highly cultured intellectuals, with broad puffed shoulders, very few ornaments and enriched by a wide pleated white ruff known as a ‘mill wheel’, typical elements of fashionable clothing in the second half of the 16th century. The attention to detail and the realism with which the portrait is painted are surprising, with particular attention paid to the gaze, which almost seems to be conversing with the viewer. In particular, the stylistic models easily lead us to attribute it to an artist from the school of the famous portraitist Frans Pourbus the Elder (Bruges, 1545 – Antwerp, 1581), one of the most influential portraitists of his generation and a great interpreter of 17th-century Flemish civilisation, son of Pieter Pourbus (1523-1584) and pupil of Frans Floris. He was an author of altarpieces but also of numerous portraits characterised by their sobriety, with elegant and uniform tones, halfway between Adriaen Thomasz Key (Antwerp, 1544 - 1589) and Anthonis Moor van Dashorts (Utrecht 1519 - Antwerp 1576). As can be seen from the work in question, his style owes much to Italian Renaissance portraiture, even if his surfaces are more detailed and glossy, in a style clearly of Nordic influence. He became the undisputed reference point for this art, renowned for his extraordinary talent as a painter and for his ability to transpose the psychological acuity of his models onto canvas. ADDITIONAL INFORMATION: The painting is sold complete with a tasteful frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We organise and take care of shipping purchased works, within Italy and abroad, through professional and insured carriers. If you'd like to see this or any of our other works in person, we'd be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! 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 entire process until it is obtained. All costs of this procedure are included. Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/