The Rape of the Sabine Women Vincent Malò (Cambrai, c. 1595/1600 – Rome, 1649) attributed Oil on canvas 110 x 193 cm. In frame 122 x 206 cm. The Rape of the Sabine Women is one of the most famous episodes in the legendary founding of Rome by Romulus (8th century BC), the city’s first king, who managed to ensure the survival of his people through the daring abduction of the women of Sabine descent. Shortly after founding Rome, Romulus realised that the city was populated almost exclusively by men (mostly adventurers or shepherds) and that without women, the new community would have no descendants, disappearing within a generation. He decided to resort to trickery and force to resolve this problem: he organised grand games in honour of the god Consus (the Consualia) and invited the neighbouring peoples, in particular the Sabines, who turned out in great numbers along with their wives and children. While the guests were distracted by the spectacles, the armed young Romans – at a prearranged signal from Romulus – stormed in and abducted the maidens, driving their fathers and brothers away by force. Our composition depicts this dramatic moment, the Rape (or Abduction) of the Sabine Women, capturing the full tension of the episode, with Roman soldiers intent on subduing the women who, in desperation, struggle with all their might to escape. At the centre of this tangle of bodies, the figure of Romulus on horseback emerges, wearing his legendary red cloak, intent on seizing a woman: she is the noble Ersilia, who will become his wife, chosen for her nobility and wisdom, and from whose union Prima and Avilio will be born. The painting, personalised by our artist, draws inspiration for certain details from Peter Paul Rubens’s The Rape of the Sabine Women, now in the Belfius Collection (Brussels), commissioned by Philip IV of Spain in 1639 and completed by the Brussels painter Gaspar de Crayer (https://rkd.nl/images/278260). The work presented here, in particular, shows clear Flemish influences and is attributed to Vincent Malò (Cambrai, c. 1595/1600 – Rome, 1649), a pupil of Rubens in Antwerp, who must therefore have been familiar with the Flemish master’s painting. In the canvas in question, which demonstrates his ability to compose large groups of figures, as well as his skill in depicting architectural settings, we can discern, from a stylistic point of view, the debt that Malò owed to his master. We find some of Malò’s characteristic pictorial styles here, particularly in the facial features—such as the typical elongated noses—in the colour choices, and in the landscape setting, which are found in many of his works, along with his preference for grand, theatrical compositions. The brown and earthy tones contrast with the figures’ pale, translucent complexions, whilst the landscape is rendered with a sensitive sense of atmosphere, featuring skies composed of mixtures of grey and blue, punctuated by the city’s architecture against which the figures stand out. By way of comparison, we may mention four works by Malò: The Massacre of the Innocents, Palazzo Bianco Gallery, Genoa, https://rkd.nl/images/22430 The Rape of the Sabine Women, Sotheby’s New York, 22 May 2019, lot 53 (https://www.sothebys.com/en/buy/auction/2019/master-paintings/vincent-malo-abduction-of-the-sabine-w... ) The Massacre of the Innocents, Princeton University Art Museum, New Jersey, https://rkd.nl/images/311613 The Meeting of Abraham and Melchizedek, Neumeister Munich, 5 July 2000, lot 480 https://rkd.nl/images/12754 Malò established himself as a successful painter in Italy, where he presumably arrived around 1634, working mainly in Genoa, but we know that in the final phase of his life he moved to Rome: the setting of the scene makes it plausible that our work may have been commissioned precisely during this phase. Indeed, we see a beautiful view of Rome with St Peter’s Basilica in the background: this setting in which the scene is set is a very interesting added value for our fine painting. Unlike the classical versions of this subject set in ancient Rome (notably that by Pietro da Cortona in the Capitoline Museums), in our case this interesting anachronism immediately catches the eye: although it depicts an event from the origins of Rome, and thus set in the 8th century BC, the artist has transposed it to a Baroque Rome where the dome or structure of St Peter’s Basilica stands out. Added to this is the fact that the artist has also depicted the women in 17th-century dress, bringing the mythical episode closer to his own time. This iconographic choice reflects the taste of the era for architectural ‘capriccios’ or for the celebration of the continuity between ancient Rome and 17th-century papal Rome. ADDITIONAL INFORMATION: The painting is sold complete with an attractive wooden frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers. Please contact us for any further information; we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Anton Raphael Mengs (Aussig, 1728 – Rome, 1779) Workshop Portrait of a Gentleman Oil on canvas 135 x 99 cm. – Framed 148 x 113 cm. The portrait of a gentleman presented here can be attributed to a painter of the Roman school active in the 18th century, specifically from the circle of Anton Raphael Mengs (Aussig, 1728 – Rome, 1779). Portrait painting in the 18th century experienced a golden age, transforming from a celebratory genre for the elite into a tool for social affirmation for the emerging bourgeoisie, and Rome—a mandatory stop on the Grand Tour—became the cosmopolitan center where international artists immortalized nobles, intellectuals, and travelers. In this context, Mengs was a leading figure in the Neoclassical movement, bringing a new quest for truth and formal rigor to portraiture. The subject is a young nobleman portrayed seated on a red cushion; he wears a voluminous gray curly wig, a hallmark of social status at the time, and wears a brown damask velvet dressing gown (often identified as a ‘banyan’) with blue lapels over a loose white shirt, which lends the work a more intimate and less solemn character. He faces the viewer with a composed expression and a penetrating, introspective gaze. The pose of the male portrait with one hand inside the coat, a pictorial convention of the 18th and 19th centuries, was a sign of a composed posture but above all indicated authority, control, and calm, inspired by the etiquette manuals of the time as “masculine boldness tempered by modesty.” It was, in fact, a way to express self-control and, consequently, control over others—a trait typical of the oratory of that era. Although it is commonly believed that this pose was invented by Napoleon (the leader was often depicted with his hand hidden in his waistcoat), it was actually a common convention used in many portraits of men from good families even earlier. Continuing our analysis of the painting, the vase of flowers (peonies and other wildflowers) on the table covered with a red tablecloth, overlooking a Mediterranean garden where architectural features are glimpsed, are common decorative elements used to emphasize the elegance of the setting and the subject’s status. The work fully reflects the 18th-century taste for the new vision of Neoclassical art, which also embraced portraiture, with the abandonment of the excessive and redundant Baroque aesthetic in favor of a return to the principles of balance and composure: with these principles, Mengs soon became famous and sought-after, rivaling the older Pompeo Batoni (1708–1787) for the role of the capital’s leading painter. He moved to Rome in 1741 and quickly became an extraordinary portraitist, the highest-paid and most sought-after in Italy and at the European courts of the late 18th century, a point of reference for wealthy Grand Tour travelers who wished to visit his studio on Via Sistina to commission their portraits. The characteristics listed above would confirm the connection to Mengs’s style, allowing us to attribute the work to an artist from his inner circle or to one of his many prominent pupils, whom he had both in Italy and in Spain, where he worked for the respective courts. It is difficult to identify a name with certainty, although in Rome Anton von Maron (Vienna, 1733 – Rome, 1808) was one of his most promising pupils, maintaining a style close to that of his master. In good condition, complete with an antique frame. ADDITIONAL INFORMATION: The work is sold complete with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and abroad, through professional and insured carriers. You can also view the painting at 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 additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Alonso Cano (Granada, 1601 – Granada, 1667) The Guardian Angel (The Archangel Raphael Showing the Way to Tobias) Oil on canvas 114 x 73 cm. - Framed 127 x 86 cm. Complete details of the work (click HERE) The protagonist of our painting is the Archangel Raphael, depicted while protecting a child [1]: the meaning of this iconography, which spread primarily between the 16th and 17th centuries, has taken on a broader significance over time, eventually becoming the emblem of the guardian angel whose task is to protect every human being. [1] In the ‘Book of Tobit,’ the angel Raphael was invoked by Tobit, a righteous and poor man, to accompany his son Tobiah on a journey; Raphael showed Tobiah the safest route and saved him more than once, without ever revealing himself as an angel, except at the end of the story. The angel is depicted here in the customary form of a young man with delicate features, wearing a robe cinched at the waist and marked by ample drapery. The young boy, innocently frightened, turns his eyes toward the sky, where the light of divine grace appears through a break in the clouds. The stylistic and figurative characteristics of the painting evoke echoes of 17th-century Spanish painting, distinguished by its refined Simone Cantarini il Pesarese" by Mario Mancigotti, 1975, Banca Popolare Pesarese, page 201 ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers. If you would like to view 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/

Tiziano Vecellio (Pieve di Cadore, 1490 – Venice, 1576) School of Salome with the Head of John the Baptist Oil on canvas 116 x 99 cm. In an antique frame: 144 x 121 cm. Full details of the painting (click HERE) This work draws inspiration from Titian’s splendid painting ‘Salome with the Head of John the Baptist’, now housed in the Prado Museum in Madrid, a masterpiece from the Veronese master’s mature period, created around 1550. The beautiful Jewish princess Salome, daughter of Herodias and Herod Philip I, occupies the centre of the scene, portrayed with the features of a typical Venetian Renaissance beauty, wearing sumptuous 16th-century attire, with a red damask gown and wide white sleeves that emphasise her sensuality and movement. She holds aloft a silver tray in a triumphant pose, upon which rests the severed head of St John the Baptist, illustrating a biblical passage from Matthew (14:1–11) and Mark (6:22–28). According to the biblical account, Salome obtained the head as a reward from King Herod, who was enchanted by the dance the young woman performed in his honour, at the instigation of her mother Herodias. The compositional choice to direct Salome’s bewitching gaze straight towards us, the viewers of the painting, is exquisite, leaving us captivated by her sweetness and detachment from the episode in which she played the leading role: this stylistic choice transforms the biblical scene into a direct psychological encounter with the observer, evoking emotional involvement. Returning to our painting, it is a fine work, in good condition, created by a follower or, more likely, by a painter from Titian Vecellio’s own workshop. The composition is very interesting: it is not, in fact, a simple replica of a well-known painting by the master, but a synthesis of sources of inspiration; specifically, the figure of Salome draws on the famous painting that Titian produced around 1550 and which is now in the Prado Museum in Madrid (Ref. 1), whilst the figures of the two maidservants accompanying the protagonist are rendered in the most typical Titianesque style. In particular, both the woman in profile on the left and the one looking upwards echo other female figures painted by Titian: we can find them, almost identical, in works such as the Allegory of Love (Titian, Wawel Royal Castle Collection, Kraków - Ref. 2), where both female prototypes appear, or in the Allegory of Spain Coming to the Aid of Religion (Titian, Museo del Prado, Madrid - Ref. 3). The success of this composition is evident in the countless replicas and versions of highly variable quality from Titian’s workshop, often reworked in a secular key, in which case the head of John the Baptist is replaced with other decorative elements: for example, in the ‘Portrait of a Woman with a Fruit Tray’ (Gemäldegalerie, Staatliche Museen, Berlin, - Ref. 4), and in the ‘Portrait of a Young Woman with Fruit’ (Private collection, Vienna, - Ref. 5), in both of which the head of John the Baptist has given way to fruit arrangements, and the same applies to the ‘Portrait of a Young Woman with a Casket’ (Sotheby’s, London, 12 May 1976, no. 97, - Ref. 6). Ref.1 Titian, Salome with the Head of John the Baptist, 1550, Madrid, Prado https://www.museodelprado.es/en/the-collection/art-work/salome/0f359b90-2055-4326-bbbe-775dbfa7c504 Ref. 2. Titian, Allegory of Love (Wawel Royal Castle Collection, Kraków) https://commons.wikimedia.org/wiki/File:Titian_-_Allegory_of_Love.jpg Ref. 3 Titian, Allegory of Spain Coming to the Aid of Religion (Titian, Prado Museum, Madrid) https://catalogo.fondazionezeri.unibo.it/scheda/opera/43645/ Ref. 4 Titian, Portrait of a Woman with a Fruit Tray (Gemäldegalerie, Staatliche Museen, Berlin) https://catalogo.fondazionezeri.unibo.it/scheda/opera/45109/ Ref. 5 Titian, Portrait of a Young Woman with Fruit (Private collection, Vienna) https://catalogo.fondazionezeri.unibo.it/scheda/opera/41936/ Ref. 6 Titian, Portrait of a Young Woman with a Casket (Sotheby’s, London, 12 May 1976, lot 97) https://catalogo.fondazionezeri.unibo.it/scheda/opera/43491/ ADDITIONAL INFORMATION: The work is complete with an antique frame that has undergone restoration and is sold accompanied by a certificate of authenticity and a descriptive iconographic sheet. We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers. It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to view our collection of works. 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/

17th-century French school Ceres as an allegory of Summer Oil on canvas 53 x 90 cm. - Framed 67 x 103 cm. Full details of this painting (click HERE) The painting depicts the goddess Ceres, reclining on the grass outdoors, accompanied by a faun and some playful cherubs. Depictions like this, with mythological themes, became widespread starting in the 16th century with the aim of drawing attention to allegorical themes: specifically, cycles of the seasons—each represented by a deity—were highly prized in noble palaces: spring personified by Venus, autumn by Bacchus, winter by Aeolus, and finally summer, the subject of our canvas, with Ceres. This is a French work created by a painter active in the mid-17th century, evoking the themes in vogue in the Fontainebleau School, that heterogeneous artistic movement that developed in France in the 16th century, closely linked to the patronage of King Francis I, which attracted a mix of Italian, Flemish, and French artists. The mythological and allegorical subject of the work shown is typical of the style and themes addressed by the artists of this school; the second Fontainebleau school, in particular, included artists such as the Flemish painter Ambroise Dubois and the French artists Toussaint Dubreuil and Martin Fréminet. In this context, Dubois’s most important work was the decoration of the Gallery of Diana, which was destroyed in the 19th century. ADDITIONAL INFORMATION: The work being sold comes complete with an attractive frame and is accompanied by a certificate of authenticity and warranty. We handle and arrange the shipping of purchased works, both within Italy and internationally, through professional and insured carriers. It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to show you our collection of works. Please feel free to contact us for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Francesco Albani (Bologna 1578–1660) workshop Cupids at Play Amusing Themselves with Venus’s Chariot Oil on canvas 56 x 165 cm. Framed 63 x 172 cm. Full details of the work (click HERE) The painting depicts a festive mythological scene with numerous cherubs engaged in an allegorical game, captured as they hold the reins of Venus’s chariot—golden and richly decorated—an emblem and symbol of the triumph of love and beauty. Seated triumphantly on the chariot is Cupid, recognizable by his bow and the quiver he carries on his shoulder, pulled by other small cherubs and winged cupids, who move in a sort of procession or dance, expressing an atmosphere of festive joy. To the right of the scene, a cherub runs with his head turned toward the chariot, trying to pull it along by means of a thin blue ribbon, while his companion, who should be assisting him at his side, has fallen to the ground and is in despair, adding a touch of spontaneity to the composition. Stylistically, the work evokes the Emilian Baroque and, in particular, the compositions of the Bolognese painter Francesco Albani (Bologna 1578–1660), famous for his allegorical scenes teeming with cherubs and known for the grace of his mythological scenes immersed in the idyll of nature. Notable is the composition titled ‘The Dance of the Cupids’ (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300180187), created by Albani and now in the Brera Art Gallery, a work that has always enjoyed extraordinary critical and public acclaim, and was certainly taken as a source of inspiration by the author of our work. Looking more closely at the work, the children’s naked bodies stand out thanks to a skillful use of light against a dark, wooded background. Although it is difficult to make a precise attribution among the numerous pupils of Albani’s prolific workshop, we can note that our canvas is distinguished by a very refined technique, a careful and fluid hand, capable of delving into details and maintaining a clear color palette. In Renaissance and Baroque art, the iconographic choice of the Chariot of Venus is traditionally associated with the triumph of Love over all things. The happy, carefree cherubs praising Cupid for having fulfilled his mission symbolized the overwhelming power of romantic love, profane love, and the protection of the new union. It is therefore plausible that our painting, given its symbolic value, was commissioned as a betrothal gift or wedding present, intended for the couple’s bedroom. ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame, a certificate of authenticity, and a descriptive iconographic sheet. We handle and arrange the shipping of purchased works, both within Italy and internationally, through professional and insured carriers. It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to show you our collection of works. Please contact us, with no obligation, for any additional information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

A follower of Abraham Brueghel (Antwerp, 1631 – Naples, 1697) Still Life with Flowers and Citrus Fruits Oil on canvas 70 x 52 cm. - Framed 85 x 67 cm. Details of the work (click HERE) The composition depicts a rich bouquet composed of various botanical varieties, including white and pink roses, anemones, carnations, and fringed-petaled tulips, arranged in a glass vase. In the foreground, on a stone surface, two lemons and a cut red tulip are visible—details typical of Baroque still lifes used to create depth and realism. The painting, of pleasing pictorial quality and in good condition, is characterized by its rich and brilliant colors and can be dated to between the late 17th century and the early 18th century. The pictorial style allows us to attribute the work to an artist stylistically linked to the Northern tradition among the followers of Abraham Brueghel (Antwerp 1631 – Naples 1697), a Flemish artist by origin but active in Italy for most of his career, first in Rome and then in Naples, one of the leading European figures in the still life genre during the second half of the 17th century. Abraham Brueghel is credited with popularizing a new compositional model for still life, in which “displays” of colorful flowers are often paired with juicy fruits, highlighted by crisp light and brilliant colors. ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers. You can also view the painting at our gallery in Riva del Garda; we would be delighted to welcome you and show you our collection of artworks. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Noël Hallé (Paris, 1711–1781) Venus and Cupid Oil on canvas 70 x 100 cm. Framed 87 x 118 cm. Full details of the work (click HERE) Excellent condition. The work is complete with a sumptuous frame featuring shell and scroll motifs, which further accentuates its aristocratic elegance. This enchanting 18th-century painting, depicting Venus with Cupid, captures in every detail the essence of French Rococo, a Le Midi," around 1746. The composition, in particular, was part of an allegorical series of overdoor panels depicting the four moments of the day. They were originally commissioned by the French aristocratic financier Jean-François Gaillard de La Bouëxière from the architect Antoine-Mathieu Le Carpentier—with whom Hallé frequently collaborated—to decorate his villa in Paris. The work achieved iconographic success in 1753, when Hallé also presented them at the Salon de Paris: from that moment on, these models were frequently replicated, in different sizes and with varying levels of artistic quality. Today, they can be found in public collections or on the antique market. One of these, signed and dated, appeared at a Christie’s Monaco auction on December 7, 1991 (lot 48, https://rkd.nl/imageslite/1024008 ). In the center, a splendid Venus reclines on a bed of soft, billowing clouds, which lend the composition a sense of ethereal lightness. She is captured in a moment of tenderness as she receives an affectionate kiss from the little Cupid, emphasizing the theme of tender love. Her body assumes a soft, sinuous pose, typical of the taste of the era, and the light drapery emphasizes the grace characteristic of the classical deities portrayed during this period. On the right, another cherub plays carefree with doves, universal symbols of Venus and peace, which lend dynamism and vitality. From a stylistic perspective as well, we are witnessing a triumph of Rococo canons, a style that successfully interpreted the peculiarities of French society under the Ancien Régime in painting. Undisputed masters of this period, alongside Noël Hallé, include the great François Boucher and Jean-Honoré Fragonard, each with their own stylistic characteristics, elevating the grace and playfulness of the Rococo to the highest levels. Hallé expressed himself with a more composed and academic style, and his figures possess a more defined solidity, in contrast to Boucher, who, on the other hand, focused entirely on sensuality and the richness of decorative details. As for the color palette, the painter typically employed a delicate palette dominated by pastel tones, the pure white of the clouds, and the rosy complexions of the figures. The soft lighting seems to make the figures float in the sky, conveying a sense of serenity, where only the celebration of ideal beauty and the joy of life shines through—central elements in 18th-century French aristocratic commissions. ADDITIONAL INFORMATION: The work is sold complete with a frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers. You can also view the painting at 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 additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Archangel Michael Guido Reni (Bologna 1575–1642) Follower of 17th–18th century Oil on canvas 134 x 96 cm. - Framed 147 x 108 cm. Details of the work (click HERE) The work in question, of excellent quality and condition, is based on Guido Reni’s famous altarpiece depicting Saint Michael the Archangel, created in 1635 for the Church of the Capuchins in Rome (photo 1 **), built through the generosity of Cardinal Antonio Barberini (1569–1646), brother of Urban VIII. The great painter moved to Rome in 1602, following an intensive apprenticeship in Bologna, and soon became a renowned interpreter of the tastes of the most culturally influential circles, winning the patronage of prominent figures such as Popes Paul V, Urban VIII, and Scipione Borghese. The painting depicts the majestic figure of Saint Michael the Archangel, engaged here in the battle against Evil, represented as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, casts an angry devil into hell, trampling the devil’s head underfoot. The soft drapery envelops the angel’s body with an intense classicism, where a balanced composition directs the viewer’s attention to his angelic face. The painting received great recognition and esteem from contemporaries and was an immediate and incredible success, aided in part by the controversy it sparked among the Pamphili family, who had long been at odds with the Barberini, the painting’s patrons. In fact, upon learning that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had slandered him, Reni, in an act of revenge, depicted the Devil with the cardinal’s face. Guido Reni’s cunning lay in exploiting the historic rivalry between two of the most influential families in 17th-century Rome for his own personal revenge, while simultaneously granting his work sudden fame. Reni tackled this subject on several occasions, and it was highly appreciated by his patrons thanks to its formal clarity and compositional balance—elements that still make it one of the cornerstones of Roman classicism today. With the help of his workshop, he would return to the same subjects multiple times, producing versions of his most successful compositions, which makes it difficult to distinguish between workshop replicas—often enhanced by his own touch—and posthumous copies that became independent reinterpretations by some of his best students or followers. **Saint Michael the Archangel, 1635 - Guido Reni (Bologna, 1575 - 1642) Oil on silk; 295x202 cm Rome, Church of Santa Maria Immacolata Concezione Link: https://catalogo.fondazionezeri.unibo.it/entry/work/59868/ ADDITIONAL INFORMATION: The painting is sold complete with a gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, using professional and insured carriers. If you would like to view this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, located 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/

Antoine Coypel (Paris, 1661–1722) Workshop/follower Diana with Her Nymphs Oil on canvas 88 x 120 cm. - Framed 104 x 134 cm. Full details of the work (click HERE) The scene, set in an outdoor mythological setting characterized by a soft, theatrical atmosphere typical of the 17th-century French school, depicts Diana, goddess of the hunt, easily recognizable by the crescent moon on her head, partially undressed with a blue cloak draped over her legs. The goddess, seated at the center of the composition, is surrounded by her handmaids and nymphs who assist her during her bath following a hunting expedition, as evidenced by the bows and quivers laid aside; a maid on the left is kneeling as she helps her remove her shoes, while another, on the opposite side, offers her a basket overflowing with fruit and flowers. The work is derived, albeit with some variations, from a composition by Antoine Coypel (Paris 1661–1722) housed in the Musée Départemental des Vosges in Épinal, France (Fig. 1 - https://www.pubhist.com/w74885 ), already celebrated in its time thanks to engravers such as Pieter van den Berge (1694–1737) who contributed to its dissemination (Rijksmuseum, Amsterdam, fig. 2 - https://id.rijksmuseum.nl/200395096 ). This work, “Le Repos de Diane,” intended primarily for the enjoyment of collectors who loved this subject to adorn their private rooms, was a great success starting with the 1695 original, as evidenced by the numerous period copies; among these is our own, the work of a follower or a painter from Coypel’s workshop. Given his position as director of the Académie Royale and “First Painter to the Duke of Orléans,” Coypel exerted enormous influence on a generation of early 18th-century French painters, who studied his grand decorative cycles such as the Gallery of Aeneas at the Palais-Royal in Paris. This painting, of excellent quality, features a carefully studied composition, where the measured postures of the nymphs in the foreground serve to direct the viewer’s gaze toward the central figure of Diana. The use of warm colors and the softness of the forms reflect the influence of Coypel’s style, known for his mastery in depicting elegant mythological scenes. ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers. You can also view the painting at 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 additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Francesco Lavagna (Naples, 1684–1724) circle Still Life with Flowers in a Garden oil on canvas 57 x 72 cm. – with frame 74 x 89 cm. Full details of the work (click HERE) This delightful painting, depicting a sumptuous arrangement of flowers scenically arranged in an outdoor garden, is the work of a painter from the circle of Francesco Lavagna (Naples, 1684 –1724), one of the most renowned figures in early 18th-century Neapolitan still life alongside Gaspare Lopez, both of whom trained in Andrea Belvedere’s studio. This is an excellent example of the aesthetic level and expressive qualities achieved by the painter, who was capable of creating lively compositions with great aesthetic impact and a characteristic rocaille style, while also demonstrating a fine chromatic sensitivity, enhanced by skillful use of glazing and varying layers of paint. A distinctive and recurring element in his artistic compositions is the white majolica plate with blue decorations. Lavagna often included vases, jugs, and ceramic plates in delicate shades of blue to create luminous contrasts with the vivid colors of flowers and fruits. The presence of these objects reflected the era’s taste for fine craftsmanship circulating in the port of Naples, including pieces inspired by Oriental porcelain. Neapolitan still life, once sought after by major collectors and intended to adorn the finest palaces of Naples, found in Francesco Lavagna a prominent exponent, much loved by such patrons, with his canvases—never banal and endowed with a descriptive power of remarkable visual impact. The compositional choices are typical of the painter’s repertoire; he loved to create his floral compositions—featuring various species—set en plein air within gardens, with plants placed in vases and arranged on the ground with apparent randomness and disorder. ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers. You can also view the painting at our gallery in Riva del Garda; we would be delighted to welcome you and show you our collection of artworks. Please feel free to contact us for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Workshop of Giovanni Francesco Barbieri, Il Guercino (1591–1666) Attributed to Ercole Gennari (Cento, 1597–Bologna, 1658) Victorious Hercules oil on canvas 136 x 112 cm. In frame (Louis XV period) 156 x 130 cm. Work accompanied by a critical study by Prof. Emilio Negro (Bologna, 2026) Reference bibliography: Luigi Salerno, I dipinti del Guercino, Rome, Ugo Bozzi Editore, 1988, p. 404. Nicholas Turner, The Paintings of Guercino. A Revised and Expanded Catalogue Raisonné, Rome, Silvana Editoriale, 2017, pp. 571 (no. 281), 605 (no. 316). The painting depicts Hercules, naked to the waist, captured in a pose of steady balance and calm resolve, portrayed with his powerful musculature. The hero is depicted holding the club in his right hand, whilst his left rests resolutely on a surface as he holds a flap of the Nemean lion’s skin, which falls over his body like a cloak, wrapping around his torso and draping over his belly. He thus displays the symbols of his first labour and his superhuman strength: having killed the invulnerable lion with his bare hands or with the club, he wore its skin as invincible armour. The face, framed by a thick beard and bristly hair, has marked and intensely human features; the hero’s expression, far removed from classical heroism, has been interpreted as imbued with a pensive and melancholic air. He is depicted not in action but in a restrained pose, which accentuates the monumental and ‘statue-like’ character of the figure. For the patrons of the time, the mythological hero must have held symbolic significance, alluding to ‘virtues or attributes in which to recognise oneself or project one’s aspirations’. The work presented here, of great pictorial vigour, stands out for its energetic rendering and a stylistic approach that allows it to be attributed to the flourishing workshop of Giovanni Francesco Barbieri (1591–1666). This subject recurs in several works produced by the master during his career, appearing in different versions in terms of posture, gesture and spatial composition, focusing on the figure of the mythical hero with a Baroque approach, characterised by strong plasticity, intense chiaroscuro and particular attention to musculature. Among the best-known versions are: - Hercules with the Club and the Lion’s Skin, Guercino, c. 1642, Koelliker Collection, Milan https://it.wikipedia.org/wiki/Ercole_con_la_clava_e_la_pelle_di_leone_%28Guercino,_Milano%29 - Hercules with the club and the lion’s skin, Guercino, c. 1645, Villa Medicea di Cerreto Guidi, Florence https://it.wikipedia.org/wiki/Ercole_con_la_clava_e_la_pelle_di_leone_%28Guercino,_Cerreto_Guidi%29 - Hercules brandishing the club, Guercino, Private collection, Milan https://commons.wikimedia.org/wiki/File:Guercino,_ercole_che_brandisce_la_clava,_01.jpg Among the possible comparisons, the closest is undoubtedly that with the Hercules now in the National Gallery of Parma ** (https://complessopilotta.it/opera/ercole/ ), formerly in the Sanvitale collection, which features a composition similar in composition and iconography. There appear to be no other versions of this composition, depicting the hero—recognisable by the club resting in his right hand and the fur belt around his waist—in a landscape at sunset This Hercules deliberately departs from the classicist models that tended to reconcile heroic strength with an ideal of beauty, proposing instead an earthly and anti-classical image, in which the hero appears more like a labourer than an exemplary demigod, emphasising the rough physicality of his body. The work under consideration here is distinguished by an excellent expressive rendering of the face, executed with a pictorial quality that suggests the possible involvement of the master himself, whilst likely forming part of a collaborative effort within his workshop. Delving into the details of the painting’s authorship, as noted in Prof. Emilo Negro’s study, the pictorial quality and stylistic characteristics allow us to recognise the hand of Ercole Gennari (Cento, 1597–Bologna, 1658), Guercino’s brother-in-law, pupil and close collaborator. It is well known that Ercole devoted himself to producing copies and variations on his famous brother-in-law’s compositions, always adhering to his compositional forms and technique. Excellent condition, with some restoration. Recently relined. Gilded wooden frame with floral and rocaille motifs, Louis XV period (in good condition with some losses and restoration). ** Ercole, Giovanni Francesco Barbieri, Guercino (workshop of) Parma, National Gallery 1630–1640, Oil on canvas, 128 x 107 cm ADDITIONAL INFORMATION: The painting is accompanied by a certificate of authenticity and a descriptive iconographic sheet. We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers. Should you wish to view 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 further 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/