Leda And The Swan, Pietro Liberi (padua 1605 - Venice 1687) Workshop - Galleria Castelbarco - Recent Added Items

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Leda And The Swan, Pietro Liberi (padua 1605 - Venice 1687) Workshop

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Leda And The Swan, Pietro Liberi (padua 1605 - Venice 1687) Workshop

14000 €


Pietro Liberi (Padua 1605 - Venice 1687) workshop Leda and the Swan (Literary source: Ovid's Metamorphoses, book VI) Oil on canvas 109 x 94 cm. - framed 137 x 121 cm. FULL DETAILS (click HERE) The fascinating painting we propose here, probably originally intended to decorate the rooms of a noble residence, depicts the beautiful Leda, Queen of Sparta and wife of King Tyndareus, in the company of a chubby Love, who seems to warn her of the deception Zeus is about to fall into. According to the myth, in fact, Zeus, the king of the gods, fell madly in love with Leda and decided to conquer her, 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 Eurota. The queen, struck by the swan's beauty, welcomed it into her arms, and ended up being seduced by Zeus, who joined her: from the encounter, desired by both parties, an egg was born, from which the children Helen and Pollux were born. Within the sphere of Greek mythology, Leda and the swan is undoubtedly one of the most fascinating stories, inspiring many artists from the Renaissance onwards with depictions charged with eros, where the fusion of the human and the divine was manifested in sensual and ambiguous forms. In the past, this subject was also attributed a great symbolic value, often identified as an allegory of carnal love, and more specifically, the success of this iconography was linked to the shifted image of the mating between man and woman, covered by the allegory of myth. A touch of poetry is the detail of the swan's head approaching, suggesting a sort of act of seduction, resting its beak on her lips. The depiction of the naked body also amplifies the intense and sensual atmosphere, half-covered by the animal's long neck. Finally, as far as attribution analysis is concerned, in our opinion this is a splendid work attributable to the workshop of the Paduan painter Pietro Liberi (Padua, 1605-Venice, 1687), one of the greatest exponents of Baroque art in Italy, a capable painter who was a disciple of Padovanino as well as the father of another important painter and epigone, Marco Liberi. Liberi produced important fresco cycles as well as altarpieces and numerous easel paintings of a profane nature; the latter are particularly similar to the one in question and much sought after and appreciated by contemporary collectors for their elegantly sensual and erotic themes. With regard to the work under examination, there are numerous analogies with other compositions by Pietro Liberi. These include, for example, Venus with Cupid (Christie's Milan 26 May 2009, imm.1), Venus and Cupid (Private Collection, Paris, imm.2), Liberi Pietro, Venus disarms Cupid Private Collection, Paris, imm.3), Liberi Pietro, Juno (Private Collection, imm.4). Source: Zeri Foundation Photo Library 1. https://www.invaluable.com/auction-lot/pietro-liberi-padova-1605-1687-46-c-3e12952432 2. https://catalogo.fondazionezeri.unibo.it/scheda/opera/59281/Liberi%20Pietro%2C%20Venere%20e%20Cupido 3. https://catalogo.fondazionezeri.unibo.it/scheda/opera/59310/Liberi%20Pietro%2C%20Venere%20disarma%20... 4 https://catalogo.fondazionezeri.unibo.it/scheda/opera/59426/Liberi%20Pietro%2C%20Giunone ADDITIONAL INFORMATION: The painting is sold complete with a beautiful 19th century gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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Holy Family With Saint Anne, Sebastiano Ricci (belluno 1659 - Venice 1734) Attributable

Sebastiano Ricci (Belluno 1659 - Venice 1734) attributable to Holy Family with Saint Anne Oil on canvas 135 x 100 cm. - with frame 147 x 112 cm. Of extraordinary scenic impact is this Holy Family with St. Anne, which, conceived by the author according to the most canonical pyramidal composition of Leonardo's memory, is enhanced by a studied plasticity of the figures and their perfect articulation in space. At the apex St. Joseph, leaning on his staff, serenely watches over the Madonna holding her son, with whom she exchanges a gaze full of love, with Anna kneeling before them as a sign of respect. This is a work of excellent quality that reproduces a composition by the great Baroque painter Sebastiano Ricci (Belluno 1659 - Venice 1734), from the Molinari Pradelli art collection (published in Volpe C., La Raccolta Molinari Pradelli. Paintings of the Seventeenth and Eighteenth Centuries, 1984, p. 88, no. 46, and again in Daniels J.'s monograph, The Complete Works of Sebastiano Ricci, 1976, p. 111, no. 264) Link: https://catalogo.fondazionezeri.unibo.it/scheda/opera/68607/Ricci%20Sebastiano%2C%20Sacra%20Famiglia... Although the quality of execution might lead us to attribute our canvas also to the Venetian master, for the sake of scruples we prefer to enlarge the reference to an author working in the workshop or to one of his close collaborators who, on request, made a similar version. An artist of extraordinary renown, celebrated by his contemporaries and in demand by the most prestigious patrons, Ricci is considered one of the main figures in the revival of Venetian painting in the 1700s. He was trained by studying the work of Paolo Veronese and other 16th-century Italian painters, in turn influencing painters of the new generation, foremost among them Giambattista Tiepolo. Indeed, the work can be read in its original derivation from Veronese's models, with the pictorial material absorbed into a luminous layout and compositional syntax typical of 16th-century Venetian modes (even in individual elements, such as column and balustrade) and reinterpreted in a contemporary key. See in particular the beautiful figure of the Virgin, draped in the antique style, almost a classical statue as a backdrop to the main scene, and actually the true protagonist of the composition. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. You can also see the painting in the gallery in Riva del Garda, we will be glad to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us at : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Ariadne On The Island Of Naxos Workshop Of Guido Reni (bologna, 1575 - Bologna, 1642)

Ariadne on the Island of Naxos (LINK) Workshop of Guido Reni (Bologna, 1575 - Bologna, 1642) Attributable to Francesco Gessi (Bologna 1588 - 1649) Oil on canvas 114 x 86 in frame 128 x 105 cm. The subject of this beautiful painting is a comely maiden seated on the rocks, mischievously discreet and with a sweetly distracted gaze, while the intense blue of a crystal-clear sea forms the background, making her sculptural body stand out and embellishing the composition. Although with variants, the invention of this charming image is taken from mythological iconography, and derives from a segment of Guido Reni's painting of Bacchus and Ariadne, painted around 1614 for the Bolognese collector Cesare Rinaldi (1559-1636), and later purchased by Cardinal Pietro Ottoboni for his Roman residence, and today housed in the Los Angeles County Museum of Art (oil on canvas, 86 x 96 cm, museum URL: https: //collections.lacma.org/node/242336 ) The female figure is thus to be identified with the beautiful Ariadne, daughter of the Cretan king Minos, who, after falling in love with Theseus and helping him to escape from the labyrinth of the monstrous Minotaur, was abandoned by the ungrateful hero on the island of Naxos, whose ships can be seen receding into the horizon. According to the Greek Philostratus (Imagines, 1.15), however, the maiden was saved by the god Bacchus, who found her sleeping on the shores, beautiful and completely naked, fell madly in love with her and asked her if she wanted to be his wife. In the field of painting, the figure of Ariadne was often borrowed, especially from the Renaissance onwards, under the pretext of staging the famous Greek myth, but also as an Allegory of profane love. It is a very refined iconographic subject, inspired by cultured literary models and therefore appreciated by the collectors of the time, who at the same time adored decorating their homes with figures with graceful nudity. The nudity is typically Rhenish - with those features that would later become distinctive elements of Bolognese classicism - and tends to idealise the subject depicted, often making him assume classical poses, almost like an antique statue, and ethereal expressions, such as the candid face of the young woman. This is a composition that, executed in the middle of the 17th century, can probably be associated with the hand of a painter from Guido Reni's entourage, in particular Francesco Gessi (Bologna 1588 - 1649), one of his most faithful followers. One of the first pupils to grow up in Guido Reni's workshop, he represented, together with Giovan Andrea Sirani, the continuity of his master's classicist tradition in the local area. As can be seen in the canvas on show, Gessi continued his style, cloaking his works in a diffused light, highlighting shapes and soft drapery, while the dreamy physiognomy and delicate colour scale infuse the scene with an Arcadian and theatrical classicism. Frequenting Guido's prestigious workshop for a decade, from 1614 to 1624, his early production is therefore inspired by the master, carefully imitating his style and reproducing his most famous iconographies, as in this case, where we see an extrapolated fragment of a more complex composition. Guido Reni, Bacchus and Ariadne oil on canvas, 96.52 × 86.36 cm Los Angeles County Museum of Art (LACMA) ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Winter Landscape With The City Of Utrecht, Herman Saftleven (rotterdam 1609 - Utrecht 168)

Herman Saftleven the Elder (Rotterdam 1609 - Utrecht 1685) workshop Winter Landscape with the City of Utrecht Oil on canvas 81 x 65 cm. - framed 105 x 91 cm. The painting depicts a charming winter landscape, with a glimpse of a city set on the banks of a frozen river where numerous characters animate the canvas immortalised in their daily lives, heedless of the climatic rigours that surround them, thus showing us a snapshot of popular life in the 17th century. Precisely this is the city of Utrecht, with the famous Plompetoren, the high watchtower that formed part of the city's defences in the Middle Ages (also known as the robbers‘ tower, since it was also used as a prison), next to which we can see De Vos tower, which no longer exists, while in the background we admire the tip of the Gothic St. James’ church. It is therefore not only a work of undeniable aesthetic and collector's value, but also an important historical document on the former physiognomy of one of the most important cities in the Netherlands, especially at the time of its great colonial power. Winter settings such as ours reached their zenith in the Dutch Golden Age, a truly attractive pictorial genre, sought after by art collectors of the time, as well as after almost four centuries, by Flemish painting enthusiasts of today. Following in the footsteps of Pieter Brueghel the Elder, who introduced this pictorial genre in the third quarter of the 16th century, a large number of authors active between the end of the 16th and the 17th century created from time to time personal variations on the theme of the landscape immersed in the coldest season. Although based on a real vision, the view appears with an almost dreamlike setting, depicting a sort of fairytale on canvas, invaded by light from the horizon that floods the broad landscape with a very warm, orangey hue, contrasting with the idea of the cold winter. From an attributive point of view, our canvas can be attributed to the workshop of the Flemish artist Herman Saftleven, creator of river views with castles that made him one of the most famous Dutch artists of the 17th century. It is in fact a typical composition by the painter, executed with quality and skillful detail, and characterised by a pleasant, soft and delicate colour scheme. A similar painting is today kept in the Gemaeldegalerie Alte Meister, Kassel, Germany, dated 1646 (museum link: https://datenbank.museum-kassel.de/33910/), and our canvas, of similar quality, could probably be a version painted by the author or one of his close followers. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Leda And The Swan, Pietro Liberi (padua 1605 - Venice 1687) Workshop

Pietro Liberi (Padua 1605 - Venice 1687) workshop Leda and the Swan (Literary source: Ovid's Metamorphoses, book VI) Oil on canvas 109 x 94 cm. - framed 137 x 121 cm. FULL DETAILS (click HERE) The fascinating painting we propose here, probably originally intended to decorate the rooms of a noble residence, depicts the beautiful Leda, Queen of Sparta and wife of King Tyndareus, in the company of a chubby Love, who seems to warn her of the deception Zeus is about to fall into. According to the myth, in fact, Zeus, the king of the gods, fell madly in love with Leda and decided to conquer her, 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 Eurota. The queen, struck by the swan's beauty, welcomed it into her arms, and ended up being seduced by Zeus, who joined her: from the encounter, desired by both parties, an egg was born, from which the children Helen and Pollux were born. Within the sphere of Greek mythology, Leda and the swan is undoubtedly one of the most fascinating stories, inspiring many artists from the Renaissance onwards with depictions charged with eros, where the fusion of the human and the divine was manifested in sensual and ambiguous forms. In the past, this subject was also attributed a great symbolic value, often identified as an allegory of carnal love, and more specifically, the success of this iconography was linked to the shifted image of the mating between man and woman, covered by the allegory of myth. A touch of poetry is the detail of the swan's head approaching, suggesting a sort of act of seduction, resting its beak on her lips. The depiction of the naked body also amplifies the intense and sensual atmosphere, half-covered by the animal's long neck. Finally, as far as attribution analysis is concerned, in our opinion this is a splendid work attributable to the workshop of the Paduan painter Pietro Liberi (Padua, 1605-Venice, 1687), one of the greatest exponents of Baroque art in Italy, a capable painter who was a disciple of Padovanino as well as the father of another important painter and epigone, Marco Liberi. Liberi produced important fresco cycles as well as altarpieces and numerous easel paintings of a profane nature; the latter are particularly similar to the one in question and much sought after and appreciated by contemporary collectors for their elegantly sensual and erotic themes. With regard to the work under examination, there are numerous analogies with other compositions by Pietro Liberi. These include, for example, Venus with Cupid (Christie's Milan 26 May 2009, imm.1), Venus and Cupid (Private Collection, Paris, imm.2), Liberi Pietro, Venus disarms Cupid Private Collection, Paris, imm.3), Liberi Pietro, Juno (Private Collection, imm.4). Source: Zeri Foundation Photo Library 1. https://www.invaluable.com/auction-lot/pietro-liberi-padova-1605-1687-46-c-3e12952432 2. https://catalogo.fondazionezeri.unibo.it/scheda/opera/59281/Liberi%20Pietro%2C%20Venere%20e%20Cupido 3. https://catalogo.fondazionezeri.unibo.it/scheda/opera/59310/Liberi%20Pietro%2C%20Venere%20disarma%20... 4 https://catalogo.fondazionezeri.unibo.it/scheda/opera/59426/Liberi%20Pietro%2C%20Giunone ADDITIONAL INFORMATION: The painting is sold complete with a beautiful 19th century gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Portrait Of An Oriental Philosopher, Giambattista Tiepolo (venice 1696 - Madrid 1770) Workshop

Portrait of an Oriental philosopher with book Workshop of Giambattista Tiepolo (Venice, 1696 - Madrid, 1770) Possible Lorenzo Tiepolo (Venice, 1736 - Madrid, 1776) Oil on canvas cm. 60 x 45 framed cm. 73 x 58 Good conservation condition FULL DETAILS OF THE PAINTING (please click here) Half-length portrait of a mature man, turned three quarters to the left, with a long beard, greying hair and his head covered by a cap. He wears oriental clothing: a white shirt and a purple-red cloak, with the flaps closed by a chest band embellished with a cameo diadem. In the face furrowed with wrinkles, the intensity of the eyes stands out, hollowed out, yet bright and sharp. It seems clear, even in the indefiniteness of a fantasy portrait, that it is in any case the face of a sage, probably a philosopher. The details of the face are very precise, the beard unkempt but neatly trimmed, and finally, the eyes expressive and intense, while, he sports a mocking smile. The source of inspiration was undoubtedly Rembrandt who, in the previous century, had established the characters of this genre, taking elderly men in oriental-inspired clothing as models to create poetic and enigmatic images, bearers of a wisdom obscure to us and thus ‘philosophers’ par excellence, destined to delight and fascinate the observer. The canvas, of truly remarkable quality, is closely connected to the production of heads of character and fantasy that developed in Venice during the 18th century and reached its apex in the works of Gian Battista Tiepolo, author of the famous series of twenty fantasy portraits of ‘Philosophers’, later taken up in the workshop by his sons Gian Domenico and Lorenzo, who made outstanding contributions to this particular figurative type. In particular, we can compare the prototype with the ‘Portrait of a Bearded Old Man’, traceable in the print made by Gian Domenico Tiepolo (Galleria Sabauda, Fondo Grafica, inventory number 3359, link: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0100214303-10). Looking closely at the style of our effigy, the greatest points of contact are with the works of the second-born Lorenzo Tiepolo (Venice, 1736 - Madrid, 1776), to whom we could probably attribute the execution. The youngest son of Giambattista, the painter trained in the family workshop in Venice, but followed his father both to Würzburg, where he was called to decorate the residence of Prince-Bishop Philipp von Greiffenklau in 1750, and to Madrid at the court of Charles III of Spain to decorate the Palacio de Oriente, the new Court Palace. Once he returned to the lagoon city on a permanent basis, Lorenzo began to pursue his own profession independently, specialising brilliantly in portraiture and, as in this case, reproducing works that evoke his father's canvases. Among Lorenzo Tiepolo's works we can mention, in correlation to our painting, the Portrait of a Philosopher with Book (Baltimore Art Museum, imm.1, https://catalogo.fondazionezeri.unibo.it/entry/work/69485/), the Portrait of a Man in Oriental Dress (Pavia, Musei Civici del Castello Visconteo, imm.2, https://catalogo.fondazionezeri.unibo.it/scheda/opera/69477/), the Portrait of a Young Man with Turban (Christie's Auction, New York. Imm.3, https://catalogo.fondazionezeri.unibo.it/scheda/opera/69297/), and Head of an Old Man (Private Collection imm.4). ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilt frame and is accompanied by a certificate of authenticity and descriptive iconographic card. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes approximately 15/20 days; our gallery will take care of the entire phase until it is obtained. All costs of this procedure are included. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

View Of Venice With Ca' Foscari, Venetian Master 18th And 19th Centuries

Venetian master active between the 18th and 19th centuries Gabriele Bella (Venice 1730 - Venice 1799) circle View of Venice with Ca' Foscari on the Grand Canal and the mouth of the Rio Novo  Oil on canvas 50 x 60 cm Framed 58 x 69 cm. In very good overall condition The particular view of Venice immortalised in our painting, atypical with respect to the normal catalogue of 18th and 19th century Venetian views, illustrates in the foreground the 15th-century façade of Palazzo Foscari (today the seat of the University) situated in the anointed area that intersects the Grand Canal and the Rio Novo. One of the most unique examples of Venetian Gothic architecture, located in the heart of the lagoon city, the palace was commissioned by Francesco Foscari, one of the most important Doges the Republic ever had. The façade of ‘Ca’ Foscari', as it is also called, is reminiscent in structure of the Doge's Palace, with the beautiful second-floor loggia with eight openings, above which is a stone frieze with the doge's family coat of arms and a jousting helmet with a lion with spread wings. Thanks to its location, which allows the view to sweep from the Rialto Bridge to the Accademia Galleries, the second floor was chosen by many painters (such as Canaletto, Michele Marieschi, Francesco Guardi) as a place to paint views of the Grand Canal. This work was presumably taken from the series of prints published in the 17th century, most famously those by Luca Carlevaris in the collection entitled ‘Le fabriche, e vedute di Venetia disegnate, poste in prospettiva et intagliate da Luca Carlevarijs’ (Reale 1995, pp. 17-47), which constituted the starting point and fundamental model for Venetian vedutismo, and borrowed from the major painters of the 18th century, including Marieschi, Canaletto and Bellotto. Although it is difficult to identify the hand of our author with certainty, we can however see strong correspondences with the works of Gabriele Bella (Venice 1730 - 1799), one of the protagonists of the grandiose season of 18th century Venetian vedutismo. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes approximately 15/20 days; our gallery will take care of the entire phase until it is obtained. All costs of this procedure are included. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Jupiter And Antiope, Anthoon Van Dyck (antwerp 1599 - London 1641) Follower

Anthoon van Dyck (Antwerp 1599 - London 1641) follower Large canvas depicting ‘The Myth of Jupiter and Antiope’ (Ovid's Meramorphoses, Book VI) Oil on canvas 116 x 150 cm. - with frame 133 x 165 cm. FULL DETAILS (click HERE) We are sharing a valuable work, able to fascinate any connoisseur or collector of works from the Flemish Golden Age: we are talking about a painting of the famous ‘Jupiter and Antiope’ painted by Anthoon van Dyck (Antwerp 1599 - London 1641) in 1620, of which several examples are known, one of which is in the collection of the Museum of Fine Arts in Ghent, another in the Wallraf-Richartz Museum in Cologne (imm1 and imm2). This episode, taken from Book VI of Ovid's Metamorphoses, shows the seduction of the nymph Antiope by the god Jupiter. The beautiful nymph, asleep and lying on the ground wrapped in a red drape, was seduced by the Lord of Olympus, who took the form of a satyr for the occasion, as he could not have her in divine form. Van Dyck depicts here the moment of the initial deception, when Antiope abandons herself in the embrace of Jupiter, who lasciviously crawls silently towards her bed with his hand outstretched to touch her. He is depicted with the horns and hairy legs of a satyr, while his muscular build and the eagle in the background allude to his true identity as Jupiter, king of the gods. The plasticity of the figures and the combination of colours, intense and bright, are exceptional and enhance the sensual character of this composition, enhanced by the bold and sculptural poses. Consider that Van Dyck was only 20 years old when he created this painting, demonstrating an astonishing artistic maturity, with a scene of strong sensual character, and his virtuosity in immortalising nude figures. In fact, the painting was immediately appreciated by 17th-century collectors who, under the pretext of the mythological theme, had the excuse of admiring subjects with a markedly erotic tone (always considering the historical context) without fear of repercussions. The work's success encouraged its widespread diffusion, so much so that numerous paintings are known to have been executed by artists either chronologically close to Van Dyck or active at a time immediately after its creation, in order to please some patrons who wished to keep their own version. It is our opinion that the painting presented here, finely executed, is the work of a Flemish artist, active between the 17th and 18th century, to be sought among the followers of Anthony van Dyck, who masterfully reworked his masterpiece. ADDITIONAL INFORMATION: The painting is in good condition with some restoration on the surface. The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Portrait Of Aristocrat, Anthonis Moor Van Dashorts (1519 - 1576) Follower

Anthonis Moor van Dashorts, known as Anthony Moor (Utrecht 1519 - Antwerp 1576) follower Portrait of aristocrat in Renaissance attire Oil on canvas 46 x 32 cm - 65 x 53 cm (with frame) Provenance: Isbilya Seville June 22, 2022 (as 17th-century Italian painter € 7,200) 17th-18th century The proposed fine portrait, effigying a gentleman dressed in Renaissance fashion, is historically and culturally to be placed in the production of the best Flemish portrait school. In particular, the stylistic models from which our skilful author must have been active are those of the painter Sir Anthonis van Dashorst Mor (1517/ 1576), one of the most influential portrait painters of his generation and a great interpreter of seventeenth-century Flemish civilization. Comparisons with some of his specimens are easy, among them the ''Portrait of a Gentleman'' (Christie's London, 4/24/98, lot 44, https://rkd.nl/images/46840) attributed to Moro and which at first impression would portray precisely our effigy. Also, similar in style and composition, the ''Manly Portrait'' (Lempertz, Cologne 1907-11-18,lot 32, https://rkd.nl/images/52052), the ''Manly Portrait'' (Mauritshuis, The Hague, https://www.mauritshuis.nl/it/scopri-la-collezione/collezione/559-portrait-of-a-man/) or the ''Manly Portrait, probably Louis of Nassau'' (National Museum of Art of Catalonia, Barcelona, https://rkd.nl/images/203369) also with an effigy almost equal to that of our canvas. Returning to our painting, a remarkable pictorial proof in the field of portraiture, it portrays a young man of high social standing, immortalized in the most classic Nordic tradition, three-quarter view, with his gaze intensely scrutinizing the viewer. Going into detail, note the meticulous but slight rendering of the facial features, the sharpness of the contours emphasized by the light, and the extraordinary expressive power of the eyes. He is dressed in an elegant black suit, the favorite color of princes, bourgeois and highly educated Renaissance intellectuals, topped with a high white collar, typical elements of fashionable clothing in the second half of the 16th century. There are no inscriptions or signs that could lead us to identify the identity of the effigy, but it could also likely be the painter's self-portrait, and such a hypothesis would be supported by comparison with some of the painter's prints, or again with the Self-Portrait kept at the Uffizi Museum in Florence (https://rkd.nl/images/40949) although here immortalized at a more mature age. With a bearing that is at once haughty yet refined, the author has here condensed many of the characteristic attributes of Van Dashorst Mor's style. As can be seen from the work under consideration, his style owes much to Italian Renaissance portraiture, although his surfaces are more detailed and polished, in keeping with a style of clear Nordic ancestry. For this reason, the work has probably been linked in the past to the Italian painting sphere (Isbilya Seville Auctions June 22, 2022, as a 17th-century Italian painter, see details in images). ADDITIONAL INFORMATION: The painting is sold complete with a nice frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. In case of purchase of the work by non-Italian clients it will be necessary to obtain an export permit, which takes about 15/20 days, our gallery will take care of the whole phase until it is obtained. All costs of this procedure are included. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We look forward to seeing you! Contact us for any information or to arrange a visit, we will be happy to respond. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Saint Peter, Giovanni Battista Beinaschi (fossano C. 1634 - Naples 1688) Workshop

Giovanni Battista Beinaschi (Fossano c. 1634 - Naples 1688) workshop Penitent Saint Peter Oil on canvas 80 x 60 cm Framed 97 x 77 cm Conservation status: Good general condition, presence of restorations The work shows us an intense image of St. Peter the Apostle, portrayed according to the typical iconography that sees him as a mature man, with his hands joined and clasped in prayer, while his gaze is directed towards heaven in a gesture of devout religiosity. The figure of the Apostle is depicted with a profound scenographic setting in a strongly dramatic and baroque style, vigorous, with marked somatic features, clutching the keys to Paradise, his inconographic attribute (‘To you I will give the keys of the Kingdom of Heaven’, Matthew 16:19). The backlight effects and a magical atmosphere of chiaroscuro make the character dynamic, oriented towards a light source that laps against his face. Studying the stylistic characteristics and details, we can circumscribe its attribution to the late Baroque painter Giovan Battista Beinaschi (1634 - 1688), whose prolific activity was concentrated between Rome, where he was trained, and Naples. Nevertheless, he moved frequently throughout his career between Turin, Parma, possibly Bologna and Genoa, assimilating varied artistic influences from each place. If, at first, he showed a leaning towards Roman classicism, this influence was soon supplanted by an increasingly pronounced rapprochement to the Baroque cultural front: many critics, in particular, place Beinaschi's personality in the current of the ‘Tenebristi painters’ (although active in the second half of the 17th century); In our case, a comparison with similar subjects painted in Rome around 1670/80, such as ‘the weeping of St. Peter’ in the Durazzo Pallavicini collection in Genoa(https://www.museidigenova.it/it/le-lacrime-di-san-pietro ) * is sufficient. *Giovanni Battista Beinaschi (Fassano, 1636 - Naples, 1688) - Oil on canvas, 91 x 78 cm. Genoa, Strada Nuova Museums ADDITIONAL INFORMATION: The painting is sold complete with an attractive wooden frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Flora As An Allegory Of Spring, Guglielmo Cortese, Known As Borgognone (1628 - 1679)

Guglielmo Cortese, known as Borgognone (Saint Hippolite 1628 - Rome 1679) Flora with putto (Allegory of Spring) Oil on canvas 74 x 61 cm. - Framed 93 x 79 cm. Condition: Good, has restorations The painting in question, of outstanding quality and artistic value, depicts the allegory of spring, personified by the beautiful Flora, the Roman fertility goddess: the young goddess is seated in a graceful pose, sumptuously dressed in a draped gown and with her head adorned with flowers, to emphasise her loveliness, while she embraces a small chubby putto, possibly Zephyrus, intent on grasping a flowering branch. From the middle of the 17th century, the fashion for these decorative depictions of mythological-themed maidens in settings adorned with flowers or fruit soon spread throughout Italy, but especially in Rome. Apart from the decorative character, this type of painting presumably also had a symbolic meaning, for instance in its connection with flowers as a metaphor for female beauty and youth. Another possible meaning of the painting under consideration would be the erotic allusion, not unusual even in a culture dominated by the restrictions of the Counter-Reformation. It is a painting of immediate beauty, combining remarkable pictorial finesse with a scenic construction capable of satisfying even the most demanding gaze. The style of the work, distinguished by a textural drafting with soft strokes and brilliant colourism, make it ascribable to the Roman environment of the second half of the 17th century, and attributable to the work of Guglielmo Cortese known as il Borgognone (Saint Hippolite 1628- Rome 1679), French by origin but active in Italy for most of his career, especially in Rome. The analysis of stylistic and figurative features, in particular the refined style, well calibrated to Baroque exuberance, as well as the setting with elements of classicist ascendancy, are typical features of Borgognone's creations, borrowed from the examples of Brueghel, of whom he was a great follower and with whom he collaborated on several occasions. See for example, among the collaborative works between Guglielmo Cortese and Abraham Brueghel ‘Putti with Flowers in a Garden’ (Private Collection, Bergamo) (1), ‘Still Life with Vases of Flowers and Putti’ (Private Collection, Milan) (2) or the ‘Young Woman with Putto in a Garden with Fruit and Vegetables’ (Private Collection, Modena) (3). Source: Zeri Foundation (1) https://catalogo.fondazionezeri.unibo.it/entry/work/87208/ (2) https://catalogo.fondazionezeri.unibo.it/entry/work/87261/ (3) https://catalogo.fondazionezeri.unibo.it/entry/work/87097/ ADDITIONAL INFORMATION: The painting is sold complete with a nice gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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

Guido Reni (Bologna 1575 - 1642), workshop of probably Giovanni Andrea Sirani (Bologna, 1610 - 1670) Saint Michael Archangel 17th century oil on canvas Dimensions: 142 x 112 cm./ with frame 164 x 135 cm. Provenance: Tuscan Collection, Lucca We share a work of great importance, an imposing oil painting on canvas depicting the famous St. Michael the Archangel, commissioned from Guido Reni in 1635 for the Church of the Capuchins, in Via Veneto in Rome (PHOTO 1), erected as a gift from Cardinal Antonio Barberini (1569-1646), brother of Urban VIII. After a long and intense training in Bologna, culminating at the Carracci Academy, 27-year-old Guido Reni went to Rome in 1602, soon becoming a celebrated interpreter of the taste of the most culturally influential circles, and winning the protection of great personalities such as Popes Paul V, Urban VIII and Scipione Borghese. The canvas shows the Archangel Michael, engaged in the battle against Evil, and depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels an irritated devil to hell, whose head he tramples with his foot; the soft draperies envelop the angel's body with an intense classicism, where a balanced composition concentrates the observer's attention on his angelic face. Great was the recognition and esteem of his contemporaries, and the painting was immediately an incredible success, also due to the controversy it aroused on the part of the Pamphili family, a family that had always been in conflict with the Barberini, who commissioned the canvas. In fact, Reni, having learnt that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had slandered him by denigrating his work, in revenge would impersonate the Devil with his own face. Reni's cunning was to exploit the historical competition between two of the most influential families in seventeenth-century Rome, the Barberini and the Pamphili, for his own personal revenge, while at the same time giving his work sudden celebrity. We can state that the proposed canvas, considering the time of its execution and its superlative quality, is certainly the work of an artist from Reni's prolific workshop. Giovan Andrea Sirani (Bologna, 1610 - 1670), one of Reni's favourites, deserves to be mentioned, so much so that the master even entrusted him with the task of reproducing the cartoons on the canvases and sketching them, continually putting him in contact with the prototypes of the works. With regard to the work in question, we know of a canvas, made by Giovan Andrea Sirani, which very faithfully replicates its subject and characteristics, and which is now housed in the Bob Jones Museum in South Carolina (United States of America) (PHOTO 2). ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Venice With St. Mark's Square And The Doge's Palace, Maximilian Heilmaier (1869 - 1923) Signed

Maximilian Heilmaier (1869 Isen - 1923 München) Signed Max Heilmaier Munchen bottom left Venice with St. Mark's Square and the Doge's Palace from the Lagoon ( - LINK -) Oil on canvas 50 x 66 cm. In beautiful period frame 81 x 96 cm. Beautiful view of Venice immortalised from St. Mark's Basin with the Riva degli Schiavoni, the majestic Doge's Palace and, on the left, the Venice Mint, now home to the Biblioteca Nazionale Marciana with its tall bell tower in the background. Both buildings overlook St. Mark's Square, introduced by the two columns of St. Theodore and St. Mark (the clock tower can be glimpsed in the background), which support the statues of the patron saints of Venice, Theodore and Mark. A quality work by the painter Maximilian Heilmaier around the end of the 19th century. ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes about 15/20 days; our gallery will take care of the entire phase until it is obtained. All costs of this procedure are included. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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