Galleria Castelbarco
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
  • Saint James Defeating The Moors In Battle, Antonio Tempesta
Saint James Defeating The Moors In Battle, Antonio Tempesta

6400 €


Antonio Tempesta (Florence 1555 - Rome 1630) Circle Saint James defeating the Moors in battle Oil on canvas 112 x 102 cm - Framed 125 x 114 cm Full details (click HERE) A valiant knight with his sword drawn, proud in his sumptuous armour outlined with golden ornaments, intent on controlling a majestic white horse, is placed at the centre of the painting: it is an evocative image of Saint James in battle defeating the fleeing Moors. This subject celebrates the most tumultuous aspect of St James' character, which earned him and his brother John the nickname Boanerghes, meaning “Sons of Thunder”, in the Gospel of Mark (3:17). According to tradition, around the middle of the 9th century, in the midst of the struggles for the Reconquista of the Spanish lands occupied by the Moors, while the enemy armies were clashing in the town of Clavijo, Saint James appeared in defence of the Christian troops frightened by the animosity of their adversaries, thus turning the tide of the war. This is a little-known iconography of the saint, which invests him with the status of an impetuous and unstoppable knight against the infidels, so much so that in the Spanish popular imagination he was given the nickname Matamoros, meaning “Killer of Moors”. It was therefore a recurring theme in Hispanic iconography, but it also spread to Italian art as an allegory of the victory of faith. Although it is a religious subject, it cannot be ruled out that it was intended for private devotion rather than for a place of worship: the painting has a distinctly “secular” rather than devotional character. This work, for which a pendant ( link ) is available, can be attributed to the workshop of Antonio Tempesta (Florence 1555 - Rome 1630), a leading artist of fundamental importance for the seventeenth-century development of the “battle” genre in painting. His style, which belongs to the late Renaissance or early Baroque period, is characterised by elements such as the dynamism of the composition, the dramatic use of light and shadow (chiaroscuro), and the expressiveness of the figures. He shaped his art in the culture of late Mannerism at the end of the 16th century, acquired from his early training in Florence in the workshop of the Flemish artist Giovanni Stradano, with whom he collaborated on the decorative work of Palazzo Vecchio. Active mainly in Rome from 1572, he worked for Pope Gregory XIII on the decorations in the Vatican Loggias, and for many of the most noble and influential families, such as the Farnese, Borghese, Giustiniani and Rospigliosi-Pallavicini, who sought him out above all as an author of scenes from historical and biblical battles. In fact, starting in 1613, he created a series of engravings of “biblical battles” inspired by Tasso's “Jerusalem Delivered” for Grand Duke Cosimo II, subjects that allowed him to enjoy great success in the Medici household and at the Florentine court, and which served as a source of inspiration for his subsequent pictorial production. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information, we will be happy to answer your questions. Follow us 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
Portrait Of Louis XIV As A Child, French Painter 17th/18th Centuries

Portrait Of Louis XIV As A Child, French Painter 17th/18th Centuries

Portrait of Louis XIV as a child (Saint-Germain-en-Laye, 1638 – Versailles, 1715) French painter active between the 17th and 18th centuries Oil on canvas 64 x 49 cm. In frame 79.5 x 64.5 Full details of the painting (click HERE) Analysis of this portrait, and in particular the style in which the features have been depicted, takes us back to the great tradition of the French school between the 17th and 18th centuries: it depicts Louis XIV of Bourbon as a child (Saint-Germain-en-Laye, 1638 – Versailles, 1715), before his actual accession to the throne at the age of 16, and later known as the Sun King. The “child king” Louis XIV ascended the throne at the age of 5, upon the death of his father in 1643, but the government of the kingdom remained for a long time in the hands of his mother, the regent Anne of Austria, and the powerful Cardinal Mazarin, and he was only able to actually wear the crown upon the latter's death in 1661. There are numerous portraits of the king as a child, including those by Charles Le Brun, which depict him with his brother Felipe, and Nicolas de Largilliere, which includes him as a child in a scene with his family. It should be noted that portraits of Louis XIV, from his childhood onwards, were designed to project an image of power, authority and royalty, and that this portraiture was part of a complex propaganda system to enhance his reputation as the most powerful monarch in Europe, despite his young age. This painting in particular refers to one of the many prints of the time (see some examples in the details) dedicated to the young ruler, from which it is possible to compare the features and attributes that portrayed him, with representative clothing and accessories such as those presented here, to celebrate the young man's accession to the throne and his proclamation as King of France. Specifically, we see him looking proudly towards the observer, holding a sceptre in his right hand and the hilt of a silver-adorned sword visible from his left cuff, enhancing the formality and solemnity of the portrait. He also wears a sash with the pin of the Order of the Holy Spirit, also known as the Order of the Cordon Bleu, the most prestigious order of chivalry in the French monarchy and one of the most important in Europe. The insignia of the Order is a cross, similar to the Maltese cross, with four forked arms and a silver dove with outstretched wings and its head turned downwards. The king's children were members from birth, but did not receive the insignia of the Order until they were 12 years old. ADDITIONAL INFORMATION: The work is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. In the event of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Banquet Of Belshazzar, Frans Francken II (Antwerp, 1581–1642) Workshop/

The Banquet Of Belshazzar, Frans Francken II (Antwerp, 1581–1642) Workshop/

Frans Francken II (Antwerp, 1581–1642) workshop/circle The Banquet of Belshazzar Oil on canvas 98 x 115 cm In frame 121.5 x 141.5 cm Full details of the work (click HERE) The painting, which shows us a sumptuous banquet set in the hall of a luxurious palace, depicts the biblical episode in which the Babylonian king Belshazzar, who lived in the 6th century, had the gold and silver vessels stolen from the Temple in Jerusalem brought to him to drink from with his more than a thousand dignitaries, wives and concubines (Bible, chapter 5, Book of Daniel). Suddenly, in the middle of the feast, a blinding light appeared - evoked here by the rays coming from the large candelabra in the centre - and a mysterious hand engraved three incomprehensible words on the wall of the palace: “Mane, Thecel, Phares” (literally “I count, I weigh, I divide”). The court soothsayers were unable to interpret them, but the prophet Daniel, who was attending the banquet near the King, revealed that those words were God's negative judgement on Belshazzar and foreshadowed the imminent end of his reign (that same night, the sovereign was killed and the Babylonian kingdom divided between the Medes and Persians). In particular, Daniel interpreted the individual words as follows: ‘Mane - God has counted your kingdom and brought it to an end’, ‘Tèchel, you have been weighed on the scales and found wanting’, ‘Phares, your kingdom is divided and given to the Medes and Persians’ (Daniel 5:1-30). The work, a valuable testimony to the descriptive richness typical of 17th-century Flemish masters, can be attributed in terms of style and compositional choices to the prolific workshop of Frans Francken (Antwerp 1581 - 1642), who loved to revisit biblical themes in his works, particularly the great banquets of history (the wedding of Esther and Ahasuerus, Herod's banquet, Lazarus' banquet...), which offered him the opportunity to give space to his strong narrative propensity. Following in his father's footsteps, Frans Francken II is considered the true protagonist of the family line, the one who transformed the family workshop into a production centre known throughout Europe. It should be added that he was surrounded by talented assistants, often members of his family, and that his sons continued the business, varying little from the compositions already widely experimented with. ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Carnival In Venice With Harlequin, Marco Marcola (Verona, 1711 - 1780)

Carnival In Venice With Harlequin, Marco Marcola (Verona, 1711 - 1780)

Marco Marcola (Verona, 1711 - 1780) Carnival scene with masks from the commedia dell'arte with Harlequin Oil on canvas, 60 x 82 cm In frame 77 x 100 cm Full details (click HERE) The canvas reflects typical Venetian stylistic characteristics and the author's theme and pictorial style reveal the influence of Tiepolo's culture and, in particular, of the Veronese master Marco Marcola (Verona, 1740 - 1793), an Italian painter of the Rococo period who came from a renowned family of artists. trained in the studio of his father Giovanni Battista (Verona, 1711 - 1780), together with his brother Nicola, Francesco and his sister Angela, becoming leading figures in the Veronese art world of the late 18th century. The subject and style are typical of Marcola's repertoire: a scene rich in characters in carnival costume, including Harlequin, Colombina, Brighella and Dottor Balanzone, depicted in a joyful and festive mood. These are masks from the ancient Commedia dell'Arte, a theatrical genre that found its celebration during the traditional Carnival, the key event that made Venice famous, combining the charm of the city with the power of theatre. Today, as in the past, the performances were improvised by masked actors in the streets and squares. Marco initially focused on decorating villas in the Verona area, as can be seen in the frescoes in Palazzo Allegri in Verona and Villa Canossa in Grezzano, where he left some of his most pleasing images of everyday life. However, his favourite subjects were those that immortalised the city of Venice with its masks and festivals, especially those of a carnival nature, as documented, for example, in ‘I preparativi del Carnevale’ (Palazzo Pellegrini in S. Cecilia, Verona) or the series of four paintings ‘Arlecchinate’ (Civico Museo Teatrale Carlo Schmidl). ADDITIONAL INFORMATION: The painting is sold complete with a pleasant gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco https://www.facebook.com/galleriacastelbarco/
Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Renaissance Garden With Knightly Festival, Isaac De Moucheron, circle

Isaac de Moucheron (Amsterdam 1667 - 1744) circle Renaissance garden with knightly festival Oil on canvas 70 x 98 cm. In frame 106 x 133 cm. Full details of the work (click HERE) We present this delightful composition, in which a sumptuous Italian garden provides the backdrop for a spectacle involving knights, specifically a carousel, a type of equestrian and theatrical event popular in European courts between the 16th and 18th centuries, in which knights in costume performed feats of skill on special occasions. The composition is dominated by two knights in the foreground who seem to be waiting to perform on their steeds, while behind them others wait their turn, dressed in ceremonial robes, red and gold cloaks and elaborate headgear. The scene depicts a court event, as was common in Italian gardens and historic villas: such events were often staged to celebrate weddings, royal visits or other important occasions, as we can imagine from the presence of the two trumpeters in the foreground announcing the participants to the sound of their instruments, adding a sense of grandeur to the event depicted. In the background stands a light-coloured Renaissance-style stone structure with sculptural figures on top, surrounded by the vegetation of the garden, reminiscent of a monumental fountain or the façade of a palace. A couple, perhaps royalty, are positioned in the centre as if on a throne, flanked by other figures watching the spectacle. The painting captures the festive and ceremonial atmosphere of such court entertainments. The work, probably based on a real place, is certainly inspired by one of the many gardens that adorned the large villas on the hills between Florence and Rome. Our artist must necessarily have taken his cue for the setting from the famous series of prints entitled Fontane di Roma (Fountains of Rome, 1680) by Giovanni Battista Falda (1643-1678), some of which are shown in the photographic details. Thanks to the stylistic characteristics of the work, which are unquestionably in keeping with 17th-century Flemish culture, we are inclined to attribute it to one of the Northern painters who came to the Eternal City to study. In particular, there are many iconographic and stylistic similarities with a specific iconographic trend taken up by the Flemish artist Isaac de Moucheron (Amsterdam 1667 - 1744) during his stay in Rome, and the author could therefore likely be found within his circle. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Duplessis (XVIII Sec.), Pair Of Paintings With Horsemen

Claude Michel Hamon Duplessis (active in Versailles from 1791 to 1799) Signed one lower right, the other lower left “M. h. Duplessis” Pair of paintings Knight near an inn Camp with tent and travellers Oil on panel 27 x 37 cm In frame 55 x 45 cm. Provenance: Christie's, Paris, auction of 14/09/2016, lot 50, estimate €6,000 - €8,000 (see details) This is a pair of landscapes with figures of knights and travellers, executed in oil on panel, signed by the painter Claude Michel Hamon Duplessis, who was mainly active in Paris around the second half of the 18th century and specifically documented in Versailles from 1790 to 1799. One painting depicts a distinguished horseman wearing a bright red cloak on a white horse, stopping near an inn: he points to a building in the distance, perhaps the place he is heading for, as if asking the woman with the child for directions. The second painting shows two tents in a landscape, one of which, with a crown hanging above it, is identified as a typical field inn, which served to entertain and supply knights. In front of it, three men are unloading food from a cart, and next to it there are empty supply baskets, with farmers and their livestock. The brilliant quality of the colour, the accurate and fluid brushwork, the richness of detail and the smoothness of the painted surface of these works, which are in excellent condition, are typical characteristics of Duplessis's best works. specialising in scenes of this kind, often animated by knights, soldiers or travellers stopping for a rest, the author's style, with its Italianate taste, is also influenced by Flemish examples, in a mixture that was very successful in 18th-century Paris. His works are remarkably elegant, and his compositions reflect in particular the influence of Philips Wouwerman (Haarlem, 1619 - 1668), as can be seen from the catalogue of his works; see, for example, those preserved at the Hermitage Museum in St Petersburg (cf. B. Schumacher, Philips Wouwermans (1619-1668), the horse painter of the Golden Age, Doornspijk 2006, no. A 459, vol. 2, fig. 72). Works by the painter can be found in French museums in Besançon (Suburb of a Camp) and Bayeux (On the Banks of a Canal in Flanders). ADDITIONAL INFORMATION: The works are sold complete with two attractive wooden frames and are accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Sleeping Venus With Cupid, Marcantonio Franceschini (bologna 1648 - 1729) Workshop Of

Marcantonio Franceschini (Bologna 1648 - 1729) Workshop of Sleeping Venus with Cupid Oil on canvas 53 x 68 cm. In frame 71 x 91 cm. Full details of the painting (click HERE) Venus, the Roman goddess of love, is portrayed lying down, completely naked, sleeping languidly with both arms behind her head; standing next to her is her son Cupid, the god of desire, pointing to something off-screen. The seductive image is presented to us in a hilly setting, in perfect harmony with nature, and in a measuredly sensual and dreamy atmosphere: her nudity and pose symbolise ideal beauty; she rests on white and red drapery, symbolic colours that indicate the coexistence of pure platonic love (the white sheet covering her pubic area) and passionate love (the red pillow). It is a work of great charm, both for the subject immortalised and for the pictorial execution, showing us the distinctive characteristics of the Bolognese school and highlighting a quality of composition and design that suggests an 18th-century date of execution. The work captures the Rococo sensibility declining into a careful classicist rigour, also presenting lexical elements drawn from early 17th-century culture typical of Domenichino and Francesco Albani: our painting draws inspiration from a work by the latter, specifically “Adonis led by Venus and the Cupids”, created in 1621 by Albani for the Duke of Mantua (Paris, Musée du Louvre, inv. 12, https://collections.louvre.fr/en/ark:/53355/cl010062424 ). In our case, the author has extrapolated the detail of Venus with Cupid (bottom right in the original composition) Going into detail, we can easily link the canvas, painted in the early 18th century, to the workshop of the master Marcantonio Franceschini (Bologna 1648 - 1729), who often drew on elements from early 17th-century culture, particularly that of Francesco Albani, achieving a highly refined classicist sensibility. The pictorial fabric, the analysis of the forms, the scenic setting, the typology of the faces and some Morellian details find clear points of contact and comparison with the artist's best work, who proved to be one of the finest interpreters of Bolognese art between the 17th and 18th centuries. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-British customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Angel Of The Annunciation, Seventeenth-century Tuscan Painter

Seventeenth-century Tuscan painter Angel of the Annunciation Oil on canvas 52 x 74.5 cm Framed 94 x 71 cm Full details of the painting (click HERE) The work on offer, characterised by a refined sacredness, depicts the Archangel Gabriel in the act of delivering the supreme announcement to the Virgin Mary, offering her the canonical white lilies, symbol of purity and chastity. It is a splendid subject, executed with stylistic refinement, probably commissioned for private use and therefore particularly pleasing and easy to place. The Angel takes the form of a young man with delicate features, with his finger raised as if to emphasise his revelation, wrapped in a bright red drape and a white robe, with a dark background that emphasises the movements of the figure and the gesture of his hand. The work, characterised by fluid, vaporous brushstrokes and a luminism that is not overly marked, denotes a profane attention to iconography and compositional methods still common in late Mannerist Tuscan painting, an extraordinarily happy artistic period which, especially at the turn of the century, saw an impressive succession of leading artistic personalities. In this case, although it is difficult to attribute the work to a particular name, the stylistic characteristics suggest that it was painted by a master of the Florentine school, active in the 17th century. The composition is characterised by intense colours and a particularly lively chiaroscuro effect, emphasised by the intense red of the angel's clothes and the glow that illuminates the angel from the front. Good condition. Complete with a beautiful antique box frame. In wood painted to imitate marble. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We arrange and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. In the event of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

The Dance Of The Cupids, Francesco Albani (bologne 1578 - 1660) Copy From

Francesco Albani (1578 - 1660) Copy from The Dance of the Cupids Oil on panel 94 x 118 cm in a fine gilded and carved wooden frame 101 x 123 Full details of the work (click HERE) We see a festive dance of cherubs arranged in a circle around a tree, on which other cherubs play musical instruments, while in the foreground there are other objects, including bows and quivers, laid on the grass. In the background on the left, we see the scene of a woman being kidnapped and dragged onto a chariot: this is precisely the abduction of Proserpina by Pluto who, madly in love, took her with him to the underworld to make her his bride. On the right, among the clouds, Venus with a torch kisses Cupid, while below is the temple of Vesta, which still exists today in Rome, where the sacred fire was once kept. The painting is an interesting antique replica of the masterpiece by Francesco Albani, entitled “Danza degli amorini” (Dance of the Cupids) and dating from around 1660, currently housed in the Pinacoteca di Brera in Milan (see image in the photographic details). Known for his light and decorative representations of mythological and allegorical subjects, Francesco Albani is considered, together with Domenichino and Guido Reni, one of the leading exponents of Bolognese classicism and therefore extremely sought after by the cultured patrons of the time. Thanks to a style characterised by idyllic compositions that appealed to the most intimate tastes of his patrons, works such as these have always enjoyed extraordinary critical and public acclaim, to the extent that they have been replicated many times. The subject depicted was also in great demand in later periods due to its symbolic meaning of the triumph of Love: the painting is in fact an interesting allegory of marital union and must therefore have been commissioned within the Farnese family on the occasion of a wedding or a betrothal. This is referred to by the cherubs who, having laid down the bows with which they make lovers fall in love, play happily because they have accomplished the mission assigned to them by Cupid: Pluto has fallen in love with Proserpina and kidnaps her as a sign of his uncontrollable love. Finally, Venus rewards Cupid with a grateful kiss, while the temple of Vesta, where the hearth is always lit, wishes for the love to last forever. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Wooded Landscape With Stream, Barend Cornelis Koekkoek (1803 - 1862)

Barend Cornelis Koekkoek (Middelburg 1803 – Cleves 1862) attributable Wooded landscape with stream oil on canvas 72 x 91 cm - framed 93 x 113 cm https://www.antichitacastelbarco.it/en/product/paesaggio-boscoso-con-ruscello This evocative wooded view with imposing oak trees crossed by a stream and a couple of travellers resting near a small bridge is a work executed with quality and skill in detail, attributable to the Flemish artist Barend Cornelis Koekkoek (1803 – 1862). He achieved international fame as one of the most important landscape painters of his generation, known for his romantic views, caressed by a particular golden light, which earned him the nickname “Prince of Landscape Painting”. The painter carefully studied 17th-century Dutch landscape painters, revealing a careful study and synthesis of his predecessors; in particular, his main source of inspiration was the work of Jacob van Ruisdael (Haarlem 1628 - Amsterdam 1682), so much so that he could be described as his follower. He often reproduced already famous works, considering them akin to his own sensibility, as in our case the landscape entitled “Oaks along a stream” painted around 1670 by Jacob van Ruisdael, at the time part of the collection of King Maximilian I Joseph (now in the Alte Pinakothek in Munich). LINK: https://www.sammlung.pinakothek.de/en/artwork/5RGQ17jGz3 We know that Koekkoek revisited this particular subject several times: one of these versions, signed and slightly smaller, was sold at Clars Auction Gallery in Oakland (auction of 15 September 2019, lot 762, estimate: $12,000 - 15,000, link: https://live.clars.com/lots/view/1-2786AG/painting-barend-cornelis-koekkoek?utm_source=mutualart&.... Koekkoek's works were recognised and appreciated throughout Europe and the artist was awarded gold medals at the Paris Salons, boasting important European royal families among his patrons, including the heir to the Dutch throne, Prince William II, King Frederick William IV of Prussia and Russian Crown Prince Alexander, who amassed a large collection of the artist's works. Magnificent romantic landscapes form the core of his work, and even today, his paintings are highly regarded for their lively composition and nostalgic atmosphere, in which the Dutch golden age seems to persist. Just as he was during his lifetime, Koekkoek is widely considered the most skilled landscape painter of Dutch Romanticism. His landscapes, especially those signed, fetch very high prices. For example: - Christie's New York, 17 January 2023, Wooded Landscape with Travellers near a Stream https://onlineonly.christies.com/s/european-art/barend-cornelis-koekkoek-dutch-1803-1862-36/174071 - Sotheby's New York, 22 May 2025, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2025/master-paintings/wooded-landscape-at-dusk - Sotheby’s New York, 27 January 2022, A wooded landscape with cattle grazing near a stream https://www.sothebys.com/en/buy/auction/2022/the-european-art-sale/a-wooded-landscape-with-grazing-c... - Lempertz Cologne, 14 November 2015, Landscape with trees and cows near a stream https://www.lempertz.com/en/catalogues/lot/1057-1/1643-barend-cornelis-koekkoek.html ADDITIONAL INFORMATION: The painting is sold complete with an attractive frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, using professional and insured carriers. Please contact us for any information, we will be happy to answer your questions. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Andromeda And The Sea Monster, Agostino Carracci (1557-1602) Circle Of

Agostino Carracci (1557-1602) Circle of Andromeda and the Sea Monster Oil on canvas 75 x 59 cm. - In frame 96 x 77 cm. Full details of the work (click HERE) The subject of the painting, derived from Ovid's Metamorphoses, is inspired by the myth of Princess Andromeda, daughter of King Cepheus of Ethiopia and Queen Cassiopeia, who, tied to a rock, is about to be attacked by a sea monster sent by Poseidon at the request of the Nereids. The heroine's misfortune was to have a mother who praised her own beauty as superior even to that of the Nereids, the sea nymphs who were daughters of the god of the sea. According to mythology, the young woman was therefore chained to a rock and offered as a sacrifice to the terrible monster sent to appease the wrath of the nymphs, who were offended by Cassiopeia's unforgivable pride. This myth was very popular in Roman Baroque painting, often commissioned as a subject to decorate the sumptuous private rooms of the aristocratic palaces of Rome. Despite her Ethiopian origins, Andromeda is immortalised with white skin, a detail that was intended to appeal to the tastes of the patrons of the time, who would certainly not have appreciated a black-skinned figure as a beauty to be admired. Considering the context, the canvas seems to have been created to offer the observer an image of a female nude in an extremely sensual, almost erotic pose, as an object of pleasure for aristocratic patrons of the 16th and 17th centuries, who delighted in owning such compositions and displaying them in their collections. The work, which can be attributed to an artist active in Rome in the 17th century, draws direct inspiration from an engraving by Agostino Carracci, dating from around 1590 (fig. 1, https://www.britishmuseum.org/collection/object/P_U-2-154). The beautiful maiden is depicted according to an iconography particularly dear to artists of the period, with a pose reminiscent of classical goddesses, completely naked and chained to a rock and, just as described in Ovid's words, highly sensual. “As soon as he (Perseus, her liberator) saw her bound by her arms to the hard rock, had it not been for a slight breeze moving her hair and the warm tears flowing from her eyes, he would have thought her a marble statue... without knowing it, he was set ablaze and remained astonished and enraptured by the image of beauty he saw...” (Metamorphoses IV, vv. 672-683). ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Portrait Of Augustus, First Roman Emperor, Flemish Painter Of The 17th/18th

Flemish painter of the 17th/18th century Portrait of Augustus, first Roman emperor Oil on canvas 61 x 49 cm Framed 77.5 x 65 cm Full details of the painting (click HERE) The portrait depicts Augustus, founder and first emperor of the Roman Empire, as indicated by the radiate crown symbolising his divinity: his birth name, Gaius Octavius, was in fact given the title “Augustus” by the Senate, meaning “venerable” or “protected by the gods”, a title later adopted by all his successors. The portrait depicts him with an idealised and youthful face, with the intention of giving him an essence of eternal youth. The facial features, inspired by the sculptures of the time dedicated to him, such as the shape of the chin and nose, combine the realism of republican portraiture with the idealised forms of classical tradition. Founder of the Roman Empire, he ruled from 27 BC until his death in 14 AD and is considered one of the most influential figures in history, having transformed the Roman Republic into a principality. The portrait shown here is based on a painting by the Flemish painter Cornelis van Haarlem in 1622, now in the collection of Caputh Castle (https://www.spsg.de/en/palaces-gardens/object/caputh-house), near Potsdam, which was the summer residence of the Electors of Brandenburg from the end of the 16th to the end of the 17th century. The painting also became famous thanks to the dissemination of the print by Johann Friedrich Leonard (1633-1680), a copy of which is now in the “Staatliche Kunstsammlungen” in Dresden. Imm1. - Cornelis van Haarlem (1562-1638), Portrait of Emperor Augustus, Caputh Castle Collection Source: Zeri Foundation Catalogue: https://rkd.nl/images/778 Imm2. - Engraving of Emperor Augustus, by Johann Friedrich Leonard (1633-1680), Staatliche Kunstsammlungen Dresden Source: https://skd-online-collection.skd.museum/Details/Index/969560 This painting is part of a series of portraits dedicated to Roman emperors, originally commissioned by Prince Maurice of Orange, Stadtholder of the Netherlands, and then passed into the possession of the Grand Elector in 1680. These works, specifically the first twelve Roman Caesars, were created between 1616 and 1625 by various Dutch and Flemish painters, including Rubens, Hendrick ter Brugghen, Michiel van Mierevelt, and Dirck van Baburen (see image in the details of the room in the Castle where the collection of Caesars is kept). ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If the work is purchased by non-Italian customers, it will be necessary to obtain an export permit, which takes approximately 10-20 days. Our gallery will take care of the entire process until the permit is obtained. All costs for this procedure are included. It is also possible to view the painting in our gallery in Riva del Garda. We would be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation, Alessandro Allori (florence, 1535 – Florence, 1607) Circl

The Annunciation Florentine painter, 17th century Alessandro Allori (Florence, 1535 – Florence, 1607) circle Oil on canvas, with gold highlights 131 x 173 cm In frame 144 x 187 cm Full details of the work (click HERE) A 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 typology that was very popular from the late 16th century to the first half of the following century. On the left, the Archangel Gabriel is depicted with his hands crossed over his chest, caught in the moment of the supreme announcement, with his eyes half-closed in an attitude of devotion. Before him is the Virgin Mary, seated on a chair that resembles a throne, as she looks up towards the dove of the Holy Spirit. The divine light is represented by golden rays emanating from God the Father, at the top left, and from the mouth of the dove, directed towards the Virgin, humble and submissive, who, as if in a mirror, responds with the Latin phrase: “Ecce Ancilla Domini” (behold the handmaid of the Lord), thus accepting God's will. The canvas shows superb execution, embellished with gold finishes that highlight the figures, and numerous details rendered with extraordinary skill: from the wooden throne decorated with geometric motifs, to the lace curtain, probably made with a bobbin, which separates the area behind, to the carpet defined in the smallest knots. Another element worthy of mention is the rendering of the faces, both characterized by an ethereal beauty emphasized by the whiteness of the complexion, as well as the angel's wings and the Virgin's crown, embellished with precious stones and macaroni. Next to the Madonna is a cushion with an open book, symbolizing the Old Testament: according to medieval tradition, the angel surprised Mary deep in prayer, reflecting on the biblical passage in which the prophet Isaiah foretells the future coming of the Messiah on Earth: “Ecce virgo concipiet, et pariet filium, et vocabitur nomen eius Emmanuel” (Behold, the Virgin shall conceive and bear a son, and shall call his name Emmanuel) (Isaiah 7:14). The work is inspired by the famous fresco in the Basilica of Santissima Annunziata in Florence (see image in details, fig. 1), painted around 1250, and displays stylistic features that unquestionably place it within the Florentine figurative culture of the 17th century. More precisely, we can trace its author to the circle of the Florentine Alessandro Allori (Florence, 1535 – Florence, 1607) who, like many Florentine artists of his time, made numerous copies of the fresco, either complete or partial, commissioned by the grand ducal family and Florentine noble families as objects of private devotion or gifts to be sent to eminent personalities, or at the request of foreign patrons. Among these, we can mention the small painting on copper, signed and dated by Alessandro Allori in 1606, now in Palazzo Pitti in Florence (fig. 2). The Museo del Duomo in Milan also has a copy of the painting by Allori himself from 1579, commissioned by Francesco I de' Medici as a gift for Cardinal Federico Borromeo. There is also the Annunciation attributed to Allori on display in the choir of the Monte dei Cappuccini (fig. 3), the one in the Museo San Domenico in Bologna (fig. 4), and finally the one kept in the Civic Museum of Spello in Perugia (fig. 5). From the collection of the municipality of Florence, we can also mention the Annunciation attributed to Cristofano Allori (fig. 6). Fig. 1: https://it.wikipedia.org/wiki/File:Annunciation_-_Santissima_Annunziata.jpg Fig. 2: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900297026 Fig. 3: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900620035 Fig. 4: https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=263428&force=1 Fig. 5: https://dati.beniculturali.it/lodview-arco/resource/HistoricOrArtisticProperty/1000138769.html Fig6: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900227307 ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We arrange and organize the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/