Galleria Castelbarco
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
Still Life With Musical Instruments, Bonaventura Bettera (bergamo 1663 - Documented Until 1718)

9800 €


Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The pendenat of this painting can be viewed at the following - link - The merit of the 17th century Bergamasque school of painting is to have ‘invented’ a type of still life, almost exclusively of musical instruments, that was as successful with the collectors of the time as it continues to be with critics and the modern market. Alongside the dominant figure of Evaristo Baschenis, the great initiator of this pictorial strand, was Bartolomeo Bettera, who had the ability to seize the inheritance but still forged his own identity, with his own pictorial characteristics. Our beautiful canvas is to be placed precisely in the sphere of this second great painter, and in particular is attributable to the hand of his son, Bonaventura Bettera (Bergamo, 1663 - documented until 1718), and illustrates, according to a scenography dear to the artist, the usual display of musical instruments lying on a surface covered by an elegant draped carpet and framed by a curtain with golden motifs descending from above. This attribution is corroborated by a comparison with two signed canvases by Bonaventura, around which the painter's, albeit meagre, body of work has been reconstructed: the first is dated 1718 and comes from Palazzo Passi in Bergamo (now in La Spezia, private collection), the second was originally painted for Palazzo Greppi in Milan (now in a private collection in Bergamo) (1). (1) For both paintings see most recently A. Morandotti, Bonaventura Bettera, in La natura morta in Italia , edited by F. Porzio, 2 vols., Milan 1989, I, p. 278, fig. 324 and p. 275, fig. 325. It should be borne in mind that many paintings on the art market have often been attributed to his father, given the great consonance in style, although a more in-depth analysis could indeed bring them closer to the production of the younger Bettera: in particular, in Bonaventura we can see the transition to an 18th century decorative taste characterised by a marked lightening and cooling of the chromatic tone compared to his father's paintings, together with a strong simplification of details. This characteristic can precisely be seen in the painting in the Puskin Museum in Moscow (2), where we see the young Bettera, who, starting from a phase of strict adherence to his father's models, declines them through a brighter register and the adoption of celestial and pastel tones. (2) Bettera Bonaventura (Moscow, Pushkin Museum, link) Returning to the details of our work, and to its pendant, we thus find all the elements of the Bergamasque still life, with the display of objects and musical instruments, such as musical scores, violin, lute, viola, all arranged on a table placed in an asymmetrical position with respect to the proportions of the canvas and accompanied by a worked carpet; in addition, we can see other objects, such as a globe, a casket, a book, and various animals, all typical details of the Bettera workshop. There are no human figures, but musical instruments left there, inanimate objects, seemingly randomly arranged, as if abandoned, some upturned, on top of others; there is even a layer of dust, next to the musical manuscripts. By way of comparison, we illustrate below a roundup of works that might be similar to ours, in terms of scenic import and style of composition. In particular: - Bettera Bartolomeo - Bettera Bonaventura attr. (https://patrimonioculturale.regione.fvg.it/opera/?s_id=499871) - Bettera Bartolomeo - Bettera Bonaventura (Moscow, Pushkin Museum, http://www.italian-art.ru/canvas/17-18_century/b/bettera_bonaventura/still_life_with_musical_instrum...) - Bettera Bonaventura - Still Life with Musical Instruments and World Map (Private Collection. https://www.didatticarte.it/Blog/wp-content/uploads/2024/02/image-102.jpeg) - Bettera Bartolomeo, Still Life with Musical Instruments and Apple (Private Collection, Bergamo, https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/151011/) - Bettera Bartolomeo, Still life with musical instruments (Antiques market, London, https://catalogo.fondazionezeri.unibo.it/scheda/opera/86907/) - Bettera Bartolomeo (Christie's, 27.1.2010, New York, https://www.christies.com/lot/lot-5287628/?intObjectID=5287628) ADDITIONAL INFORMATION: The painting is sold complete with a nice gilded frame and comes with a certificate of guarantee and authenticity. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional, tracked 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/          
Request for more information
See more items of this dealer
Print
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
Portrait Of A Child (alessandro Farnese?), Bartolomeo Schedoni (modena 1578 - Parma 1615)

Portrait Of A Child (alessandro Farnese?), Bartolomeo Schedoni (modena 1578 - Parma 1615)

Bartolomeo Schedoni (Modena 1578 - Parma 1615) workshop of Portrait of a child (Alessandro Farnese?) First half 17th century Oil on canvas (95 x 66 cm. - In frame 109 x 80) Full details (click HERE) This intense portrait of a young boy is an interesting workshop work by the Modenese painter Bartolomeo Schedoni (Modena 1578 - Parma 1615), active from 1607 at the court of Ranuccio I Farnese, Duke of Parma and Piacenza. It is in fact a detail extrapolated from a more articulated painting, ‘The Almsgiving of Saint Elisabeth of Hungary’ (1610-11)*, commissioned by the Farnese and executed by Schedoni in 1611. In the work, Elisabeth, Queen of Thuringia who lived in the 13th century and was known for her works of charity, is depicted in the act of giving alms to the needy. Our little effigy, placed in the foreground in the original painting, is here the protagonist as she turns her gaze to the observer, with the aim of drawing his attention and arousing his involvement, according to an expedient that recurs frequently in Schedoni's paintings. There is an interesting interpretation that would see the child as an allegory of the young first-born son Alessandro Farnese, (born on 5 September 1610, ten years after the marriage between Ranuccio and Margherita Aldobrandini), given that on the occasion of the birth, the ducal couple organised celebrations and alms-giving for many days. The painting would therefore have been commissioned as a votive offering in thanksgiving for the birth of their son: the infant wears a yellow and blue jacket, an obvious reference to the Duchy of Parma, while the white petticoat and the red cord, which fastens the clothing, would indicate the intervention of Saint Elisabeth, a Franciscan allegory of charity, who intercedes at the birth of the child. This could also be an apt interpretation in relation to the depiction of the child, certainly not a beggar or an orphan, given his fine and delicate appearance, the care of his robes, his neatly combed blond hair and perfect feet, as well as the regal bearing and proud gaze with which he looks at us intently. Given the excellent quality of execution, the proposed work could be by an artist from Bartolomeo Schedoni's workshop, capable of fully reproducing his style and quality. The magic of the painting and the use of light and colours, with chiaroscuro effects that accentuate its three-dimensionality, in full Baroque style, take us back to the ability to create that atmosphere with an almost metaphysical effect that made Schedoni a master of the highest level. *Bartolomeo Schedoni (Modena 1578 - Parma 1615) Elemosina of Saint Elizabeth of Hungary Naples - Museo e Real Bosco di Capodimonte 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/    
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)

Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)

Alessandro Varotari, known as il Padovanino (Padua 1588 - Venice 1649) workshop/attributable Hercules and Onphale Oil on canvas (109 x 80 cm. - Framed 126 x 97 cm.) Full details (click HERE) In the proposed beautiful work illustrating the myth of Hercules and Queen Onphale, we can admire the style characteristics typical of the early 17th-century Venetian school, and in particular, the rosy hues of the flesh close to the marked black outlines of the figures lead the work convincingly to the hand of Alessandro Varotari, known as il Padovanino (Padua 1588-Venice 1648). The painting, which could easily be placed around the fourth decade of the seventeenth century, still adheres to the tradition of late-sixteenth-century Venetian painting, in a phase of the artist's reworking of Titianesque modes. His formal elegance and painterly softness are enhanced in mythological scenes such as ours, characterized by sensual and classical nudes. In many ways, these depictions are anticipatory of those that Sebastiano Ricci and Giovanni Antonio Pellegrini would produce a century later. The painter constructs the scene with great theatricality: the hero's mighty body lies on the ground surrendered, unarmed, while the beautiful queen, delicately crowned with pearls, expresses all her supremacy as she stands displaying the club yielded to her by Hercules. The intriguing iconography is based on an episode from Greek mythology (Apollodorus, Library 2.6,3), in which Hercules, the most famous hero of all time and a veteran of his legendary twelve labors, was forced at the behest of the oracle of Delphi to become the personal slave of the queen of Lydia, Onphale. From being a mere servant, Hercules would later become her lover, thus submitting to the magic of Eros, whom we see depicted between the two: in the painting, Hercules' submission is underscored by the fact that the hero, seated on the ground, handed the queen his club, which had become the symbolic attribute of his power, while he handed Eros the golden apples of the Hesperides. Padovanino's late Mannerism is expressed in the articulated relationship of tension of the bodies of all the characters involved and we can find it in numerous works by the author, including the Orpheus and Eurydice of the Galleria dell'Accademia in Venice (1), the Rape of Deianira of the John and Mable Ringling Museum of Art in Florida (2), and finally the Venus and Adonis of Colnaghi in London (3) 1- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59706/ 2- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59734/ 3- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59733/ ADDITIONAL INFORMATION: The work sold is completed by a nice antique frame and comes with a certificate of authenticity and guarantee. 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 happy to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco    
Aniello Ascione (naples, C. 1680 - 1708), Still Life With Festoon Of Flowers And Fruit

Aniello Ascione (naples, C. 1680 - 1708), Still Life With Festoon Of Flowers And Fruit

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attributive study by Prof. Stefano Causa (University of Naples) Details of the work with extract of the expertise: '' This fruit composition with a festoon of flowers belongs to Aniello Ascione's brush and is a prominent addition to the final game of the Neapolitan still life - the most baroque and decorative one can imagine. The naturalistic work, still Caravaggesque, of the specialists of the early sixteenth century, from Luca Forte to Porpora, now seems a distant memory. The name of Ascione also comes from the comparison with the still life signed by the Civic Museum of Castello Ursini in Catania, against which the painting in question qualifies as a sixteenth version. On the other hand, it is not uncommon for easily repeatable patterns to recur in the workshops of still life painters. The melon on the right, the rush of flowers and, in the background, the profile of a column or a fountain. We could compare them to the normalized formal types used by great southern composers such as Alessandro or Domenico Scarlatti (with whom, however, we find ourselves more or less at the same time as our painting). Set on a diagonal cut, our painting connects to the Neapolitan climate split between Giordano and Francesco Solimena (also in its connections with the contemporary Roman scene of a Michelangelo from Campidoglio and a Spadino). These are the years when still life rises, so to speak, to the maximum volume of presentation. But let's not get ahead and get closer. We are faced with a complex work conceived for amateurs willing to slowly make their way through fruit and flowers with their eyes (and smell). Every single element of the composition is weighed in its individuality and conceived in relation to a large whole. The reading of the painting is triggered by the melon on the right with the jagged skin (a mark of the Ruoppolo family and a badge of belonging). Immediately to the side, a carpet of half-open figs and leaves occupies the foreground of the canvas. The solution of calibrating the fruits diagonally revives the composition by increasing its depth. The shady, almost earthy quality of the surface is decanted in the almost obscenely open pomegranate with the seeds streaked with light; Moving to the right, the fireworks of the bunch of grapes explode (of that particular species which, in the South, is called cornicella grapes). The spectacle of the painting could also end here if, in the center of the page, similar to a versicolor hammock, the festoon did not impose itself as a theatrical coup and as one of the beautiful ideas of the final season of still life. To use an overused metaphor, these paintings are a feast for the eyes. On the right, in the background, peeps out, as a tribute, a piece of architecture with a fountain that Giordano himself would not have rendered with different enthusiasm. [...] '' ADDITIONAL INFORMATION: The work sold is completed by a nice gilded 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 view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. 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 Annunciation Alessandro Allori (florence, 1535 - Florence, 1607) Circle Of

The Annunciation Alessandro Allori (florence, 1535 - Florence, 1607) Circle Of

The Annunciation Alessandro Allori (Florence, 1535 - Florence, 1607) circle of Oil on canvas 69 x 87 cm. Framed cm. 82 x 100 Splendid canvas celebrating the theme of the Annunciation, the moment when the Archangel Gabriel brings Mary the news that she will give birth to the Son of God, according to a type very much in vogue in the 16th and 17th centuries. On the left, the Archangel Gabriel is depicted with his hands crossed to his chest, caught at the moment of the supreme announcement, his eyes half-closed in an attitude of devotion. Before him is portrayed the maiden Virgin, seated on a throne-like chair, as she turns her gaze upward toward the dove of the Holy Spirit. A diagonal ray of light unites her gaze with God the Father, in the upper left corner, on which is imprinted, as if in a mirror, the Latin locution 'Ecce ancilla Domini' (behold the handmaid of the Lord), or the Virgin's response to the announcement. The canvas shows us an excellent quality of execution, enhanced by the gold trim of the haloes framing the faces. The painter emphasizes the beauty of the Virgin, interpreted as an ethereal woman, characterized by the whiteness of her complexion. Great attention was paid to details, such as the wooden throne all decorated with geometric motifs, with a lace curtain on top, probably worked in bobbin lace, and on the floor a beautiful carpet. The work draws its inspiration from the well-known fresco in Florence's Basilica dell'Annunziata, executed around 1250, with stylistic features that place it without hesitation in the Florentine figurative culture of the mid-17th century: more precisely, we can look for its author in the circle of the Florentine Alessandro Allori. The painter, like many Florentine artists of his time, made several copies of the fresco, whole or partial, commissioned by the grand ducal family and Florentine nobles as objects of private devotion or gifts to be sent to eminent personalities. These include the small painting on copper, signed and dated by Alessandro Allori in 1606, now in the Pitti Palace in Florence(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900297026). A copy of Allori's own painting from 1579, commissioned by Francesco I de' Medici as a gift for Cardinal Federico Borromeo, is also in the Museo del Duomo in Milan. And again the Annunciation also attributed to Allori displayed in the choir of the Monte dei Cappuccini(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900620035), or the one in the Museo San Domenico in Bologna(https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=263428&force=1). ADDITIONAL INFORMATION: The painting is sold complete with a pleasant antique 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. Should you have the desire to see this or other works in person, we will be glad 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/
SOLD
​​​​​​​the Colosseum In Rome At Sunset, Robert Alott (graz 1850-1910 Vienna) Signed Lower Right

SOLD

​​​​​​​the Colosseum In Rome At Sunset, Robert Alott (graz 1850-1910 Vienna) Signed Lower Right

Robert Alott (Graz 1850-1910 Vienna) signed lower right R. Alott The Colosseum in Rome at Sunset Oil on canvas (70 x 95 cm. - framed 86 x 112 cm.) FULL DETAILS (click HERE) Fascinating Roman view presented here, executed by the Austrian-born painter Robert Alott (Graz 1850-1910 Vienna), a great traveller and lover of Italy, where he left a series of exceptional views, with a focus on the most famous views of the Eternal City. Always immortalised with an oriental spirit, a great romantic sensibility emerges at the centre of his artistic creations: his landscapes are characterised by a highly delicate painting, subtle reproduction of atmospheric details and impeccable mastery of colour. Just as, in poetry, authors such as Baudelaire extolled the journey as a metaphor of life to elevate oneself towards values of beauty, our work perfectly illustrates the same suggestion, where cultured and refined tourists, whom we see from the back in the foreground on the left, contemplate the great monument, being seduced by its magnificence. The 19th century in fact proved to be the age of travel, which, in the wake of the Grand Tours that had spread in the previous century, was still undertaken to complete one's cultural education, but above all for the personal pleasure of travelling as a source of personal enrichment. Needless to say, Rome, a point of reference for artistic life from the beginning of the 17th century, was the privileged destination for bourgeois families from all over Europe, for the wealth of its collections of antiquities and the great masters of the Renaissance and 17th century, for the great theatre of ruins and the charm of its monuments. The city is represented here in its absolute symbol, the Colosseum, towering imposingly in its elegance full of pathos, and immersed in the popular ambience that could be experienced by bourgeois travellers, eager to possess a ‘souvenir’ in its most characteristic dimension. ADDITIONAL INFORMATION: The work sold is completed by a nice gilded 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 view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. 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
SOLD
Baptism Of Jesus, Luca Giordano (naples, 1634 - 1705) Workshop Of

SOLD

Baptism Of Jesus, Luca Giordano (naples, 1634 - 1705) Workshop Of

Baptism of Jesus Luca Giordano (Naples, 1634 - 1705) workshop of Oil on canvas 107 x 72 cm In frame 118 x 83 cm Jesus is depicted here being baptised by St John, with his feet immersed in the waters of the River Jordan, while at the top stands the dove enveloped in a glow of light sent down from God and symbolising the Holy Spirit, surrounded by two groups of angels. It is a work that fully reflects the characteristics of the Neapolitan school of the late 17th and early 18th century: the colours are warm and luminous, the chromatic range is clear and soft, and the fast but precise brushstrokes are elements that lead us, in particular, to the production of Luca Giordano and the large group of his pupils. What emerges from the canvas is a refined luministic rendering and a colour choice that is certainly not banal; the tempered chiaroscuro, the vaporous palette and the fluid pictorial modelling, sketched in places, as well as the types of figures, confirm Giordano's figurative culture. The composition also betrays the influence of the Roman classicism prevailing at the end of the 17th century, which is expressed in the serene and casual atmosphere. Born in Naples in 1634, Luca Giordano was the great protagonist of European Baroque art and one of the most prolific painters of all time. Trained in Neapolitan Caravaggism, in the workshop of José de Ribera, he made his debut producing paintings similar to those of the master but also subject to the influence of Mattia Preti. While staying in Rome, he came into contact with the milieu of Pietro da Cortona, while after a subsequent trip to Venice, from 1667, the artist made certain characteristics of Titian's and Veronese's painting his own. ADDITIONAL INFORMATION: The work sold is completed by a wooden 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 to show you our collection of works. 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
Antonio Tibaldi (rome, 1635 - 1675) Workshop Of Still Life With Armour, Curtains And Sculpture

Antonio Tibaldi (rome, 1635 - 1675) Workshop Of Still Life With Armour, Curtains And Sculpture

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. DETAILS (link here) Beautifully scenic painting depicting a still life composed of an opulent display of objects, including several fine curtains embroidered and trimmed with gold trimmings and fringes, parts of a dark parade armour with gold borders, sculptures, an altar adorned with winged sphinxes and precious chiselled metal vases. These images, in addition to the aesthetics of the decoration, are imbued with allegorical meanings, so much so that these compositions can be interpreted as refined Vanitas: in fact, they are a kind of allegory that probably invited the observer to meditate on the futility of vain glory (which here is symbolised by the weapons or the altar) or earthly riches (the precious objects and fabrics). The pictorial characters declare its execution by a capable 17th century painter of the Italian school, whose characters evoke the teachings of the best Flemish masters of previous generations. The evident Roman post-Caravaggesque influences are evident in the contrasts of light and the dense pictorial material, all of which allow the painting to be attributed to the circle of Antonio Tibaldi (Rome, c. 1635 - post 1675), a skilful painter and follower of Francesco Fieravino known as the Maltese and therefore a highly regarded painter of still lifes similar to those of his master. Active mainly in Rome, the painter was extremely prolific and enjoyed extraordinary success with the collectors of the time. His presence and the notoriety he achieved are testified by the many compositions that have been returned to him in recent times, kept in the most important public and private Roman collections of the time, such as those of the Albani, Barberini, Chigi and Colonna families. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant 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. 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/        
The Annunciation, Luigi Garzi (pistoia, 1638 - Rome, 1721)

The Annunciation, Luigi Garzi (pistoia, 1638 - Rome, 1721)

Luigi Garzi (Pistoia, 1638 - Rome, 1721) The Annunciation Oil on canvas cm. 130 x 114 Framed cm. 142 x 126 Work with expertise by Prof. Emilio Negro The work, certainly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, portrayed with a supernatural beauty, who with an imperious air delivers the supreme announcement to the Virgin. We see her here absorbed in the reading of a prayer book with her eyes turned humbly downwards as a sign of devotion to the divine will, while she is handed white lilies, the symbol of purity and chastity, by the angel. In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, the emblem of the Holy Spirit, supported by two angels amidst clouds charged with intense glow and play of light, in full Baroque style. The painting can be traced back to the hand of Luigi Garzi (Pistoia 1638 - Rome 1721), a painter with an erudite artistic personality, who was an essential linking figure between the 17th and 18th century within the complex Roman artistic scene. His painting, light and refined, reveals a pleasant accord of pictorial accents derived from the works of the best contemporary masters working in Rome in those same years, that is to say, an education in drawing of Tuscan and Roman matrix that lingers pleasantly on frivolous Rococo cadences. A Tuscan by origin, Luigi Garzi went to Rome at a very young age to the workshop of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin; but mainly he followed Emilian examples, particularly favouring Giovani Lanfranco, Guido Reni and Pietro da Cortona. He is therefore an author with a composite figurative culture, a character of style that is manifested in the warm luminosity, glazed colours and lightness of the delicate forms of the figures. The painting shown here expresses this particular training of the painter, celebrated by historiography for his industrious artistic activity under the banner of grace, formal elegance, creative originality and fine chromatic elaboration, all characteristics that we find in our canvas. The peculiar drafting and the sculptural classicism of the figures enveloped in a soft light lead us to date the canvas to the phase of his early artistic maturity, around 1680-90, when Garzi was able to open up to new figurative experiences that gave him the opportunity to create important cycles of frescoes and altarpieces, a numerous series of works executed with the usual rich and warm chromatic range typical of his best painting. ADDITIONAL INFORMATION: The painting is sold complete with a gilded wooden 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/
SOLD
Ecce Homo, Cesare Dandini (florence 1596 - 1657) workshop Of

SOLD

Ecce Homo, Cesare Dandini (florence 1596 - 1657) workshop Of

Cesare Dandini (Florence 1596 - Florence 1657) workshop of Ecce Homo Oil on oval canvas 72 x 60 cm. in frame 88 x 75 cm. Provenance: Lempertz Cologne, as Cesare Dandini, Lot 1445 (URL: https://www.lempertz.com/en/catalogues/lot/1057-1/1445-cesare-dandini.html) The proposed canvas, the work of a 17th century Tuscan painter, shows the image of Christ portrayed according to the iconography of Ecce Homo, stripped of his clothes in anticipation of his immediate crucifixion on Golgotha ... Jesus came forth, bearing the crown of thorns. Pilate said to them, ‘Behold the man’. On seeing him, the chief priests and thugs cried out, ‘Crucify him, crucify him’’ (Gospel of John 19:5). This type of representation, called Ecce Homo and which, as mentioned, is placed before the moment of his Crucifixion, became widespread in the 16th century, giving rise to particularly intense creations. In our case, the figure of Christ is shown half-length, with the crown of thorns resting on his long hair and a reed sceptre in his hand, both symbols of the kingship conferred on him by the soldiers, as a sign of mockery towards the one who had proclaimed himself the King of Kings. His hands are tied by a rope and his shoulders covered with a richly draped cloak, which stands out in iridescent red. The image reconciles the remarkable spiritual strength of Christ in his moment of human suffering with a refined elegance, supported by the superb descriptive capacity of the face, and an elegant colouristic rendering, rich in precious glazed effects. The work bears a traditional attribution to the Florentine artist Cesare Dandini (Florence, 1596 - Florence, 1657), which we scrupulously take into consideration, even though it is linked to his workshop. We find the particular creative vivacity and consonance with the great Florentine schools of painting, which Dandini learnt thanks to his heterogeneous education in the workshops of Francesco Curradi, Cristofano Allori and Domenico Cresti. Of no little importance, however, was his study trip to Rome and the influence of Guido Reni, whose examples Dandini moulded on Francesco Furini's models, thus achieving results of extraordinary elegance. In the canvas transpires the author's ability to show not only the physical, but also the psychological description of Christ who, looking upwards, appears physically and emotionally exhausted and suffering. With regard to our version, it is a work realised with a pictorial precision of an excellent level, with an extraordinary expressive force, such that it can be easily attributed to the workshop of the master without hesitation. ADDITIONAL INFORMATION: The work 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. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to 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/
Port View At Dawn, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, Post 1699)

Port View At Dawn, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, Post 1699)

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View at Dawn Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Expertise by Emilio Negro. We are pleased to present this pleasing coastal view at dawn illuminated by the sun rising through the clouds, and set in a fantastic harbour with an almost surreal atmosphere, made fascinating by the use of almost monochrome tints with characteristic predominantly brown tones softened by pinkish reflections. The marina is organised on the skilful juxtaposition of realistic data with others of pure fantasy, and is therefore characterised by steep heights, imaginary constructions, numerous boats and the presence of many characters engaged in their own activities. This compositional choice echoes the works of the many northern European artists active in Italy during the 17th century - from Pieter Mulier (the Cavalier Tempesta) to Adriaen van der Cabel to name but a couple - who spread an alternative to classicist Vedutism, juxtaposing the realist vision with details from their imagination. All of these elements - together with the unmistakable clouds with their typical atmospheric, chromatic and luministic values - allow us to link our painting to the pictorial corpus of Giovanni Grevenbroeck (Netherlands, c. 1650 - Milan, post 1699), the progenitor of the family of painters from the Netherlands. The painting expresses all the stylistic and pictorial characteristics of his works, in one of the favourite subjects of his famous workshop: the scene set in a fantasy harbour is the most typical of his repertoire, always somewhere between figurative description and caprice. After his apprenticeship in Flanders, Giovanni Grevenbroeck came to Italy, specifically to Rome, receiving numerous commissions from the great noble families, such as the Colonna. However, his stay in Rome was a brief parenthesis in his career, which was to take place largely in Milan, from 1672 onwards, where he spent much of his life painting landscapes and seascapes at dawn and dusk to great success, reported in the inventories of the most important local picture galleries of the time. His numerous compositions evoke, as is also the case in the canvas under examination, the qualities of 17th-century Roman landscape painting, enlivened by both the northern European examples of Claude Lorrain and the central Italian ones in the style of Salvator Rosa, with the particularity of rendering his port views as flamboyant vedute that entrust the luministic component with the task of highlighting naturalistic details with its typical atmospheric intonations. To convince oneself of the attribution, one only needs to compare the canvas with the majority of his body of paintings, in particular the seascapes at dawn and sunset from Chateauroux (Musée Bertrand) or, even more so, the Seaports of Alençon (Musée des Beaux-arts et de la Dentelle), works sometimes attributed to one or other of his sons, but which can be traced back to Giovanni thanks to more recent studies of the prolific work of this active family of 17th-century vedutists. ADDITIONAL INFORMATION: The work is completed by an antique frame and is sold 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 to show you our collection of works. 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
Port View In Moonlight, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, 1699)

Port View In Moonlight, Giovanni Grevenbroeck (netherlands, C. 1650 - Milan, 1699)

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Expertise by Emilio Negro. We are pleased to present this pleasing nocturnal coastal view illuminated by the cold light of the moon, and set in a fantastic harbour with an almost surreal atmosphere, made fascinating by the use of almost monochrome hues with characteristic predominantly brown tones softened by golden reflections. The marina is organised on the skilful juxtaposition of realistic data with others of pure fantasy, and is therefore characterised by steep heights, imaginary constructions, numerous boats and the presence of many characters engaged in their activities. This compositional choice echoes the works of the many northern European artists active in Italy during the 17th century - from Pieter Mulier (the Cavalier Tempesta) to Adriaen van der Cabel to name but a couple - who spread an alternative to classicist Vedutism, juxtaposing the realist vision with details from their imagination. All of these elements - together with the unmistakable clouds with their typical atmospheric, chromatic and luministic values - allow us to link our painting to the pictorial corpus of Giovanni Grevenbroeck (Netherlands, c. 1650 - Milan, post 1699), the progenitor of the family of painters from the Netherlands. The painting expresses all the stylistic and pictorial characteristics of his works, in one of the favourite subjects of his famous workshop: the scene set in a fantasy harbour is the most typical of his repertoire, always somewhere between figurative description and caprice. After his apprenticeship in Flanders, Giovanni Grevenbroeck came to Italy, specifically to Rome, receiving numerous commissions from the great noble families, such as the Colonna. However, his stay in Rome was a brief interlude in his career, which was to take place largely in Milan, from 1672 onwards, where he spent much of his life painting landscapes and seascapes at dawn and dusk to great success, reported in the inventories of the most important local picture galleries of the time. His numerous compositions evoke, as is also the case in the canvas under examination, the qualities of 17th-century Roman landscape painting, enlivened by both the northern European examples of Claude Lorrain and the central Italian ones in the style of Salvator Rosa, with the particularity of rendering his port views as flamboyant vedute that entrust the luministic component with the task of highlighting naturalistic details with its typical atmospheric intonations. To convince oneself of the attribution, one only needs to compare the canvas with the majority of his body of paintings, in particular the seascapes at dawn and sunset from Chateauroux (Musée Bertrand) or, even more so, the Seaports of Alençon (Musée des Beaux-arts et de la Dentelle), works sometimes attributed to one or other of his sons, but which can be traced back to Giovanni thanks to more recent studies of the prolific work of this active family of 17th-century vedutists. ADDITIONAL INFORMATION: The work is completed by an antique frame and is sold 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 to show you our collection of works. 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
Flower Garland With Cartouche, Frans Van Everbroeck (antwerp, 1628 - London 1693)

Flower Garland With Cartouche, Frans Van Everbroeck (antwerp, 1628 - London 1693)

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisies Oil on canvas 101 x 88 - Framed 126 x 112 cm Provenance: Christie's, 13 December 2012 13 https://www.christies.com/en/lot/lot-5641556 Work catalogued in the Rkd archive (242220), attributed to Frans van Everbroeck (attributed to Van Everbroeck by Prof. Fred Meijer after personal inspection on 12 September 2012) https://rkd.nl/images/242220 The large painting that we are pleased to present to you illustrates a garland composed of four groups of flowers, including tulips, roses, daffodils, peonies and daisies, highlighted by the contrast with the monochrome black background, placed around a structure with elegant stone volutes. The canvas, datable to the first half of the 17th century, belongs to the series of flower garlands, a genre that the artist practised throughout his career, characterised by the precise rendering of botanical species and the characteristic vivacity and brilliance of the colours. The work, which for its descriptive precision and style fits into the Flemish school of the 17th century, can be attributed to the hand of Frans van Everbroeck, one of the greatest Flemish painters specialised in floral subjects, especially garlands around a central scroll, as in our painting, a pupil in Antwerp of the famous still life painter Joris van Son (Antwerp 1623 - Antwerp 1667). The painting is pervaded by a sumptuous elegance, given by the movement of the flowers, precisely drawn, and linked together in a kind of melody that unites them in a breath of Baroque taste. The Van Everbroeck authorship of this still life is supported by stylistic parallels with many of the artist's documented works. Comparative works: - Fruit and bunches of flowers around an ornamental niche, Christie's London 1992-04-15, lot 135: https://rkd.nl/images/4310 - Sotheby's London 1955-11-16, lot 79: https://rkd.nl/images/17544 - Christie's London 1998-10-28, lot 286: https://rkd.nl/images/50497 - Sotheby's London 2017-05-03, lot 138: https://www.sothebys.com/en/auctions/ecatalogue/2017/old-masters-l17030/lot.138.html?utm_source=mutu.... ADDITIONAL INFORMATION: The work sold is completed by an attractive wooden 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 to show you our collection of works. 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