Saint George, Follower Of Cima Da Conegliano (conegliano C. 1449 - Conegliano C. 1517) - Galleria Castelbarco - Recent Added Items

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Saint George, Follower Of Cima Da Conegliano (conegliano C. 1449 - Conegliano C. 1517)

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Saint George, Follower Of Cima Da Conegliano (conegliano C. 1449 - Conegliano C. 1517)

8500 €


Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting immortalises St. George, a noble knight of the Christian faith, made famous thanks to a legend that arose during the Crusades, in which he was the protagonist of an epic feat, victorious over a fearsome Dragon that besieged an entire kingdom. Imbued with symbolic meanings of the struggle between Good and Evil, this feat made him a favourite subject in art, especially from the Renaissance onwards, as it allowed him to personify both chivalric and religious ideals and values. The young Saint, with his upright and proud posture, is portrayed here in his shining armour while holding in both hands the long lance, the weapon he will use to defeat the dragon. His torso, slightly turned to his right, pivots on his legs, which are firmly open in a compass shape. As a whole, the young man's attitude expresses an idea of strength and moral firmness. Defiladed, in the background, the princess devoutly watches the hero awaiting his help, while being held hostage by the ferocious beast; behind her is the high-walled kingdom of Selem, which the hero manages to free and convert to Christianity. Our painting is an excellent quality replica of the famous ‘Triptych of the Madonna and Child between Saints George and James’, painted by Cima da Conegliano around 1517 and now in the Musée des Beaux-Arts (Caen, France). An analysis of the general stylistic characteristics of the work allows us to propose a dating of the painting in the late 17th century or early 18th century, presuming an artist marked by experience gained in the Venetian area or by knowledge of 15th-century Venetian culture, characterised by a painting style still marked by refined classicism. Trittico della Madonna col Bambino tra i santi Giorgio e Giacomo - Cima da Conegliano 1517, oil on panel, Musée des Beaux-Arts (Caen) URL: https://it.wikipedia.org/wiki/Trittico_della_Madonna_col_Bambino_tra_i_santi_Giorgio_e_Giacomo ADDITIONAL INFORMATION: The work is sold complete with an attractive 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. 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/

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Galleria Castelbarco

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Viale Giovanni Prati, 39 ,
38064 Riva del Garda

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Italy

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Navy With Storm And Shipwreck, Claude Joseph Vernet (avignon 1714 - Paris 1789) Follower Of

Claude Joseph Vernet (Avignon 1714 - Paris 1789) Follower of Navy with Storm and Shipwreck oil on canvas 103 x 140 cm. framed 120 x 155 cm. The painting depicts a beautiful marina set in a Mediterranean harbour, which has just been crossed by an intense storm and where the still stormy sea is crashing against the rocks. This is a scene of shipwreck, in the aftermath of the storm, with a sailing ship about to be sucked out of the sea after crashing onto the rocks, while a lifeboat laden with shipwrecked sailors tries to gain the shore. The large size of the canvas has allowed the author to describe with great generosity of detail a varied sequence of scenes imbued with phatos, allowing us to participate in the drama of the characters in front of the grandiose spectacle of nature. The dark bulk of a lantern and the remains of an ancient classical temple with tall columns stand out on the shore, made all the more striking by the precarious weather conditions, with lightning ripping through the black clouds to strike the coast. The canvas is attributed, in terms of composition and style, to a follower of Claude Joseph Vernet (Avignon 1714 - Paris 1789). Remarkably beautiful, the painting highlights all the pictorial and descriptive characteristics of the great master's marinas, later taken up by his pupils and followers to meet the countless demands of his patrons. Among them we can mention the Italians Carlo Bonavia and Francesco Fidanza (1747-1819), who painted in his wake, as we can see for instance in ‘Marina in tempesta con naufragio’(https://catalogo.fondazionezeri.unibo.it/scheda/opera/66754/). His marinas were very fashionable at the time, a genre loved by the English nobility and Northern Europeans who came to Italy on the Grand Tour and who often returned home with paintings as souvenirs evoking Italian landscapes (in this regard, note for instance the inclusion of the ruins of a temple, fantastically placed on the cliff). The true magic of the painting is the painter's highly personal use of light and colours, rendered intense by a palette of vibrant hues, with chiaroscuro effects that accentuate its three-dimensionality and movement. In our case, the work derives in particular from ‘The Tempest. Marina with Storm and Shipwrecked Ship' by Claude Joseph Vernet, whose location is unknown today, but of which an engraving by Balechou Jean Joseph(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300619540) has survived. 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/

Still Life With Flowers, Johann Baptist Drechsler (vienna 1756 - 1811) Signature And Date

Johann Baptist Drechsler (Vienna 1756 - 1811) Signature and date - barely legible - bottom right Joh Drechsler f. 1789 Still Life with Flowers Oil on canvas (67 x 54 cm. - In period frame 85 x 71 cm.) For more details about the work, click HERE The elegant canvas we are proposing is a rare autograph gem by the Viennese Johann Baptist Drechsler (Vienna 1756-1811), signed and dated in the bottom right-hand corner, executed when the painter was already an established artist. It is a splendid floral composition, transporting us into a delicate and contemplative atmosphere, in which to be inebriated by the colours of flowering nature, with the vase filled with botanical varieties, including roses, rhododendrons, carnations, daisies and more sought-after flowers such as the beautiful elevated speronella. The material, animated by a vivid light, acquires a particular softness, delicate and virtuosic in the definition of the reflections of the vase and the transparencies of the petals. Inspired by the Flemish Baroque style, he drew inspiration in particular from the Dutch floral painting of Jan van Huysum and Rachel Ruysch, making the Viennese public enthusiastic about the lushness of the subject matter and the realistic style. The richness of nature is complemented by the presence of various types of animals such as in our case a gentle butterfly ready to settle on a rose, and a fly resting on the lower edge of the vase. The present composition is a typical example of his style and can be easily compared to the following works: - ‘Still Life with Flowers’ (Bayerische Pinakothek München: https://www.sammlung.pinakothek.de/de/artist/k2xnE854Pd) - ‘Still Life of Flowers’ (Private Collection, Vienna: https://www.dhm.de/datenbank/linzdbv2/queryresult.php?obj_no=LI003444) - Still Life of Flowers (Imkinsky Vienna 24.06.14: https://imkinsky.com/en/auction-results/101/401/5/57122) - ‘’Flower still life‘’ (Dorotheum Vienna 20.10.2015: https://www.dorotheum.com/it/l/2332432/) - Flower still life (Dorotheum Vienna 11.05.2022: https://www.dorotheum.com/it/l/8051070/) - Flower Still Life (Christie's, Amsterdam, 14.12.2004) Today, Drechsler's paintings can be found in the Belvedere, the Wien Museum, the Städel Museum in Frankfurt, the Princely Collections of Liechtenstein (Vaduz), the Hermitage in St. Petersburg and museums in Budapest, Prague and Cambridge. ADDITIONAL INFORMATION: The painting is sold complete with a beautiful 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/

Saint George, Follower Of Cima Da Conegliano (conegliano C. 1449 - Conegliano C. 1517)

Saint George A follower of Giovanni Battista Cima, known as Cima da CONEGLIANO (Conegliano c. 1449 - Conegliano c. 1517) Oil on canvas 126 x 49 cm. Framed 143 x 65 cm. The painting immortalises St. George, a noble knight of the Christian faith, made famous thanks to a legend that arose during the Crusades, in which he was the protagonist of an epic feat, victorious over a fearsome Dragon that besieged an entire kingdom. Imbued with symbolic meanings of the struggle between Good and Evil, this feat made him a favourite subject in art, especially from the Renaissance onwards, as it allowed him to personify both chivalric and religious ideals and values. The young Saint, with his upright and proud posture, is portrayed here in his shining armour while holding in both hands the long lance, the weapon he will use to defeat the dragon. His torso, slightly turned to his right, pivots on his legs, which are firmly open in a compass shape. As a whole, the young man's attitude expresses an idea of strength and moral firmness. Defiladed, in the background, the princess devoutly watches the hero awaiting his help, while being held hostage by the ferocious beast; behind her is the high-walled kingdom of Selem, which the hero manages to free and convert to Christianity. Our painting is an excellent quality replica of the famous ‘Triptych of the Madonna and Child between Saints George and James’, painted by Cima da Conegliano around 1517 and now in the Musée des Beaux-Arts (Caen, France)*. An analysis of the general stylistic characteristics of the work allows us to propose a dating of the painting in the late 17th century or early 18th century, presuming an artist marked by experience gained in the Venetian area or by knowledge of 15th-century Venetian culture, characterised by a painting style still marked by refined classicism. *Trittico della Madonna col Bambino tra i santi Giorgio e Giacomo - Cima da Conegliano 1517, oil on panel, Musée des Beaux-Arts (Caen) URL: https://it.wikipedia.org/wiki/Trittico_della_Madonna_col_Bambino_tra_i_santi_Giorgio_e_Giacomo ADDITIONAL INFORMATION: The work is sold complete with an attractive 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. 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/

Guido Reni (bologna, 1575 - 1642) Workshop, The Virgin At Prayer (or Mater Dolorosa)

The workshop of Guido Reni (Bologna, 1575 - Bologna, 1642) The Virgin at Prayer (or Mater dolorosa) Oil on canvas 77 x 64 cm, framed 97 x 83 cm. LINK FULL DETAILS (click here) The Madonna of our canvas is depicted according to the typical iconography of the ‘mater dolorosa’, which sees her portrayed in an attitude of suffering tension combined with a feeling of extreme sweetness, with her crossed hands resting on her chest and her gaze turned upwards. It refers to the moment of Jesus' Passion when the Virgin is placed mourningfully at the foot of the cross, as described in the Gospel of John (19:25). The incarnate is radiated by an intense light, highlighted by the monochrome background, which moulds the figure, touching it with an indescribable grace. The painting depicts the figure of the Virgin in a strongly Baroque style, vigorous, with marked features, and is ascribed to the pictorial production of Guido Reni's workshop, reviving his youthful manner, with the figures painted in a monumental manner, in high relief, with an occasional use of chiaroscuro. In particular, our canvas corresponds with the painting exhibited at the Kassel Art Gallery (Germany): Mater Dolorosa, Guido Reni (follower), oil on canvas, 70 x 53 cm. Staatliche Kunstsammlungen - Schloss Wilhelmshöhe (Kassel) URL: https://www.bildindex.de/document/obj00000546 The image was also exploited by the numerous pupils and collaborators who attended his school, including Giovanni Andrea Sirani, his daughter Elisabetta Sirani and Giovanni Francesco Gessi, among those closest to the master. The palette, ennobled by the intense lapis lazuli blue of the Virgin's mantle, set in contrast to the dark background, and the compositional cut rendered from the bottom up, contribute to giving a highly theatrical and mystical vein to the composition. Moreover, the pathos contained in the intense expressiveness and the masterful stylistic execution place the painting among the highest achievements of the painter's religious production. The high quality of this intense portrait therefore leads us to attribute its hand to one of his talented pupils. Good overall condition, retouches. Gilded frame in good condition, 19th century. ADDITIONAL INFORMATION: The painting 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/

Vase Of Flowers With Architectural Foreshortening And Gardens, Antonio Gianlisi II (1677-1727)

Antonio Gianlisi II, called the Cremonese (Rizzolo San Giorgio, 1677 - Cremona, 1727) - Vase of flowers with architectural foreshortening and gardens Oil on canvas (78 x 116 cm. - Framed 97 x 137 cm.) LINK FOR DETAILS OF THE WORK (HERE) The painting depicts an opulent composition of flowers arranged within a decorated porcelain vase placed on a marble shelf, while on the left a precious brocade curtain opens the scene, as in a theatre curtain, to reveal the architectural foreshortening of a prestigious palace, where the majestic arched door leads the eye to the gardens. From the very first glance, it is easy to place its authorship in the hand of Antonio Gianlisi il Giovane (Rizzolo di San Giorgio, 1677 - Cremona, 1727), whose works perfectly embody the tradition of Baroque still life painting in Northern Italy. The lexicon deployed by the artist from Cremona in his paintings, his highly personal representation of objects, here concentrated in this magnificent floral bouquet, the characteristic brocades with arabesque decoration, as well as those landscape sorces that open the heart of the observer as well as the eye, make Gianlisi's works, such as this one we present, truly unmistakable. The painter demonstrates an expert knowledge of the Bergamo painting tradition, incorporating elements typically used by his fellow countrymen, such as traditional embroidered fabrics, into his works. After an apprenticeship with his father, Antonio continued his studies with better known artists: first in Piacenza with Felice Boselli, then in Bergamo in the circle of Evaristo Baschenis and Bonaventura Bettera. It is also recalled that he undertook a longer stay in Venice and also travelled to Switzerland, living the last eighteen years of his life in Cremona. His painting production is therefore influenced by a fine and articulate language in which he exhibits the various stylistic experiences he acquired in the Bergamo and Emilian lands, in Parma and Piacenza in particular. In our painting he demonstrates a marked ability in the rendering of details, drawn from Flemish painting, to which the depicted meticulousness of the botanical species of flowers naturally refer, as well as the raceme decoration in white and blue Delft ceramics, in addition to the marvellous rendering of the rich and full-bodied damask, all enhanced by a choice of bright and vivid colours, which gives us a suggestive chromatic effect. The attribution is supported by comparing the canvas offered with other works by the master such as the two paintings, also en pendant, conserved in the Pinacoteca Civica Ala Ponzone in Cremona (A. Morandotti in La Natura Morta in Italia, edited by F. Zeri and F. Porzio, Milan 1989, vol. I, p. 285 fig. 332, p. 286 fig. 333), and the three works in the Galleria dell'Accademia Tadini in Bergamo:(https://www.lombardiabeniculturali.it/opere-arte/autori/46777/) ADDITIONAL INFORMATION: The painting is sold complete with an attractive antique gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Pieter Molinaer (antwerp 1602 - 1654) Monogrammed, Equestrian Battle

Pieter Molinaer (Antwerp 1602 - 1654) Monogram at the bottom of the horse's leg on the ground: PM Equestrian Battle Oil on canvas 79 x 129 cm - framed 98 x 149 Work accompanied by attribution study by Giancarlo Sestieri The suggestive battle that we are proposing hinges on the equestrian clash of various horsemen, on one side equipped with armour and helmets and on the other with simple headgear; on both sides with the use of firearms. Sestieri, analysing the work on the basis of exhibition taste and the pictorial specificity of the horsemen and horses in the foreground, also rendered with an abundance of detail in their clothing, circumscribes it to the Flemish ambit of the mid 17th century, in the wake of Sebastian Vrancx, the prestigious leader of this iconographic strand and already in vogue in the Netherlands since the beginning of the 16th century. By further narrowing the study and analysing the particularities of the type of battle, the horses painted with slender legs and powerful hindquarters enhanced by their soaring postures, it becomes easy to direct attention to a precise name as the author of the painting in question, namely Pieter Meulener (Antwerp 1602 - 1654), an established specialist who, not by chance, had the aforementioned Vrancx as a decisive reference point for his training. An identification that is fully supported by matching comparisons with various similar works of undoubted authorship, finally finding precise confirmation in the small initials with an ‘M’ surmounted by a small ‘P’ placed on the leg of the bay horse that has been knocked to the ground. For the above-mentioned comparisons, please refer firstly to the repertory illustrated in the volume ‘’Pittori di Battaglie. Maestri italiani e stranieri del XVII e XVIII secolo‘’ (by G.Sestieri, ed. De Luca, Rome 1999, pp. 582-86), which includes some examples from the painter's representative series housed in the Prado Museum in Madrid. * Defence of a convoy , oil on panel, 52 x 79 cm, signed, h. 1644 [P1565] * Cavalry Combat , oil on panel, 52 x 79 cm, 1644 [P001566]. * Cavalry Clash , oil on copper plate, 37 x 50 cm, 1649 [P001883]. * Cavalry Clash , oil on panel, 49 x 64 cm, 17th century [P004000]. These works illustrate comparisons of knights typical of his production, sometimes attributed to authors such as Vrancx or even Jacques Courtois. A qualitative ‘Battle’ of his is preserved in the Narodni Galerie in Prague(https://www.wga.hu/html_m/m/meulener/cavalry1.html). And we can also mention, ‘Cavalry Battle Scene’ (Oil on canvas, 59 x 79 cm Private collection, https://www.wga.hu/html_m/m/meulener/cavalry2.html), also monogrammed ‘’PM‘’ on the left hind leg of the white horse, or the ‘’Cavalry Skirmish‘’ (Christie's 5.7.2013, London. Lot 184: https://www.christies.com/lot/lot-pieter-meulener-antwerp-1602-1654-a-cavalry-5701718/?). ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Still Life Of Fruit With Green Woodpecker, Franz Werner Von Tamm (hamburg 1658 - Vienna 1754)

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with green woodpecker Oil on canvas, 58 x 74 cm. - Framed 76 x 92 cm. This magnificent still life (of which the corresponding pendant - link - is also available), depicts a composition of fruit, arranged on a plane with a dark background, including two melons, a bunch of white grapes, freshly picked plums, on whose leaves there are still dewdrops, chestnuts still in their husks and peaches. Above is a portrait of a cute little bird, precisely a green woodpecker. This is an extremely fascinating work, thanks to its detailed and realistic style, whose harmonious composition and masterful use of colour and light give the objects a greater plasticity against the dark background. Each fruit represented in the work is meticulously painted, capturing texture, shape and colour with great precision, with a detailed approach that creates a sense of realism, making the objects almost palpable. The compositional taste of the canvas easily allows us to attribute its authorship to a master trained in the fervid 17th century Baroque Rome, in particular Franz Werner von Tamm, known as Monsù Daparait (Hamburg 1658-Vienna 1754), as he fully exemplifies its specific characteristics, both in terms of execution and inventiveness. Von Tamm was certainly one of the most varied personalities in the large number of Italian and foreign naturamortists active in Rome, pursuing a highly successful career in the Papal City; thanks to his friendship with the figurist painter Carlo Maratti, Tamm worked for the great collectors of the aristocracy such as the Pallavicini, Falconieri and Spada families; important patrician commissions that spread his fame throughout Europe: Spain, France, England and Germany. Short stays in Florence and Venice followed, and then the appointment as court painter in Vienna by Emperor Leopold. To confirm the attributive reference, we illustrate below some compositions with the same theme by the painter. Below are two works, with the same dimensions and type of composition as ours, which could in particular be complements to the series or created at the same time: - Still Life of Fruit (Alte Pinakothek München): https://www.sammlung.pinakothek.de/en/artwork/JzG60p2xWO#&gid=1&pid=1 - Still Life of Fruit with Snail (Alte Pinakothek München): https://www.sammlung.pinakothek.de/en/artwork/rqxNrgjxvW/franz-werner-von-tamm/fruechtestueck Also - Still Life of Fruit with Melons and Figs, c. 1690, (Hamburger Kunsthalle Museum): https://rkd.nl/images/281635 - Still Life with White Rabbit, dated 1691 (State Museum Karlsruhe): https://rkd.nl/images/279511 - Still Life of Fruit with Game, dated 1720 (Galerie Belvedere Museum Vienna): https://rkd.nl/images/288916 - Still Life with Apple Tree (National Museum in Warsaw): https://commons.wikimedia.org/wiki/File:Tamm_Still_life_with_a_musk_melon.jpg - Still Life with Fruit (Alte Pinakothek Nürnberg): https://www.sammlung.pinakothek.de/en/artwork/8MLv9gyxz3/franz-werner-von-tamm/fruechtestillleben ADDITIONAL INFORMATION: The painting is completed by an antique wooden frame and is sold 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. 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/

Still Life Of Fruit With Lizard, Franz Werner Von Tamm (hamburg 1658-vienna 1754) Attributed To

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnificent still life (of which the related pendant is also available - link -), depicts a composition of fruit, arranged on a plane with a dark background, including some juicy bunches of grapes of different qualities, freshly picked from the vines on whose leaves there are still some dewdrops, some apricots placed in a woven wicker basket and some ripe figs placed on a silver plate that reflects their shapes. On the right is a curious lizard, which turns to check it is not seen. It is an extremely fascinating work, thanks to its detailed and realistic style, harmonious composition and masterful use of colour and light, which give the objects a greater plasticity against the dark background. Each fruit represented in the work is meticulously painted, capturing its texture, shape and colour with great precision, with a detailed approach that creates a sense of realism. The compositional taste of the canvas easily allows us to trace its authorship back to a master trained in the fervid 17th century Baroque Rome, in particular Franz Werner von Tamm, known as Monsù Daparait (Hamburg 1658-Vienna 1754), as he fully exemplifies its specific characteristics, both in terms of execution and inventiveness. Von Tamm was certainly one of the most variegated personalities in the large number of naturamortists active in Rome, carrying out a highly successful career in the Papal City; thanks to his friendship with the figurist painter Carlo Maratti, Tamm worked for the great collectors of the aristocracy such as the Pallavicini, Falconieri and Spada families; important patrician commissions that spread his fame throughout Europe: Spain, France, England and Germany. Short stays in Florence and Venice followed, and then the appointment as court painter in Vienna by Emperor Leopold. To corroborate the attributive reference we illustrate below some compositions with the same theme as the painter. The same lizard, for example, can be found in a painting by the painter, from a private collection, catalogued in the Fondazione Zeri,(https://catalogo.fondazionezeri.unibo.it/entry/photo/156262/Anonimo%20-%20Stilleben%20n.%20F.%20W.%2.... Below are two works, with the same size and type of composition as ours, which could in particular be complements to the series or created in conjunction with it: - Still Life of Fruit (Alte Pinakothek München): https://www.sammlung.pinakothek.de/en/artwork/JzG60p2xWO#&gid=1&pid=1 - Still Life of Fruit with Snail (Alte Pinakothek München): https://www.sammlung.pinakothek.de/en/artwork/rqxNrgjxvW/franz-werner-von-tamm/fruechtestueck Also - Still Life of Fruit with Melons and Figs, c. 1690, (Hamburger Kunsthalle Museum): https://rkd.nl/images/281635 - Still Life with White Rabbit, dated 1691 (State Museum Karlsruhe): https://rkd.nl/images/279511 - Still Life of Fruit with Game, dated 1720 (Galerie Belvedere Museum Vienna): https://rkd.nl/images/288916 - Still Life with Apple Tree (National Museum in Warsaw): https://commons.wikimedia.org/wiki/File:Tamm_Still_life_with_a_musk_melon.jpg - Still Life with Fruit (Alte Pinakothek Nürnberg): https://www.sammlung.pinakothek.de/en/artwork/8MLv9gyxz3/franz-werner-von-tamm/fruechtestillleben ADDITIONAL INFORMATION: The painting is completed by an antique wooden frame and is sold 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. 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/

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Architectural Capriccio With Classical Ruins, Francesco Battaglioli (modena 1725 - Venice 1796)

Francesco Battaglioli (Modena 1725 - Venice 1796) Architectural Capriccio with classical ruins Oil on canvas 49 x 66 cm. - In frame 78 x 96 cm. LINK (here) Aspects such as the opulence and compositional refinement of the architecture combined with a skilful perspective construction accentuated by the scenic depth lead us to attribute this work to Francesco Battaglioli (Modena 1725 - Venice 1796), a true specialist in the genre of ruins with architecture. The celebrated skill of the painter is well demonstrated in this capriccio, with the architectural ruins of a grandiose palace, reproduced with a faithful and highly imaginative analysis, highlighted by a powerful light that lays bare the monumental architecture in ruins, the shattered arches, the corroded columns, the cracked bas-reliefs, set against ancient monuments now overgrown by vegetation. With a great scenic impact, rich in minute details, our author demonstrates a very high quality, capable of evoking extraordinary scenic representations, also vivid for their atmospheric and chromatic sensitivity, reaching decorative levels of considerable visual emphasis. Battaglioli can be said to be the worthy heir to the artistic tradition inaugurated by Viviano Codazzi, later pursued by Giovanni Paolo Pannini and Antonio Joli. In 1778, he inherited the chair of perspective at the Accademia di Venezia, succeeding Antonio Visentini, thus crowning a career of undisputed success with recognition of the highest prestige. In fact, he was an artist of European significance, arriving (from 1754 to 1760) to work in Madrid in the service of the Spanish Court, where he also dedicated himself to theatrical scenography. Reference bibliography: G. Sestieri, ‘Il capriccio architettonico in Italia nel XVII e XVIII secolo’, Rome 2015, pp. 30 - 51 ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and 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 and show you our collection of works. In case of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes about 10/20 days; our gallery will take care of the whole phase until it is obtained. All costs of this operation are included. 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/

Triumph Of The Trinity, Paolo De Matteis (naqples, 1662 - Naples, 1728)

Paolo De Matteis (Piano del Cilento, 1662 - Naples, 1728) attributed/ workshop Triumph of the Trinity with Our Lady, Saint Joseph, Saint John the Baptist, Saint Ignatius, Saint Francis Xavier and Saint Augustine (Preparatory sketch for altarpiece) Oil on canvas 76 x 51 cm - with frame 85 x 61 cm This interesting painting, depicting the Triumph of the Trinity, stands out for the refined but natural grace of the faces and gestures, and the precision of the drawing combined with the soft tone of the colours, warm but vivid, present this painting with the refined taste of early 18th century Naples tempered by Roman aesthetics. These clues allow us to circumscribe its authorship to the workshop of Paolo De Matteis (Piano del Cilento, 1662 - Naples, 1728), one of Luca Giordano's most important pupils in Naples, and an artist who was to mark the development of 18th-century Neapolitan art. The strong imprint inherited from Giordano's works can be seen in the composition, mixed, however, with a pleasant Marattesque taste, although De Matteis tends to balance the two components, achieving a balance in the representation of the scene. The painting depicts the triumphant Trinity with at the top centre - Jesus holding the cross, God the Father and the Holy Spirit in the form of a dove - with the Madonna and St Joseph on opposite sides seated on a cloud. On the lower level is the theory of saints kneeling in adoration of the Trinity: from the left, one can recognise St. John the Baptist holding the palm in his right hand, the symbol of martyrdom, St. Ignatius, founder of the Jesuit congregation, St. Francis Xavier with a youthful face holding a white lily, and finally, on the far right, the figure of Augustine dressed as a bishop and with a mature face. The structure of the painting clearly indicates that we are dealing with a valuable preparatory sketch, presumably a study for a fresco or larger altarpiece; this suggests that the final work was intended for the decoration of the bay of a church or private chapel. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Ecce Homo, Circle Of Quentin Metsys (leuven, 1466 - Antwerp, 1530)

16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting on panel, depicting the intense face of the suffering Christ crowned with thorns, in the more traditional iconography of Ecce Homo, one of the most representative Christian depictions in Old Master painting, which Flemish painters have emerged from for intensity and dramatic realism. The painting in fact reveals typological and formal characteristics derived from the 16th century North European tradition, showing particular affinities with the works of the Flemish Quentin Massys (or Metsijs), founder of the Antwerp School and one of the greatest Flemish interpreters of this subject; We can mention among many works his Ecce Homo dating from 1516 and currently housed in the Musée des Beaux-Arts de Dunkerque (see details) * https://collections.musees-dunkerque.eu/fr/notice/ba-p-190-le-christ-cb75e188-ada2-41df-b588-77a0ed8... Musée des Beaux-Arts de Dunkerque Compared to this model, this work exhibits more robust workmanship and denser impastoes of colour, which in our opinion point towards a rather late 16th century date. Christ, whose figure emerges against a dark background, is depicted with his head framed by a luminous reflection, on which is placed the crown of intertwined thorns. His gaze is dull with his eyes half-closed, flushed, in a resigned attitude disfigured by pain, furrowed by tears and drops of blood. Important in this painting is the study of Christ's expression and gaze, with his eyes turned downwards, in sign of pain, dense with a phatos capable of conveying to the viewer the suffering of this episode of the Passion. Ecce Homo is the Gospel episode during which Jesus, awaiting his condemnation after the scourging, is presented to the people by Pontius Pilate, then the Roman governor of Judea. The expression literally means ‘Behold the Man’, and was the phrase uttered by Pilate to designate the suffering of Jesus scourged and crowned with thorns. The face suggests that the author undoubtedly carefully studied the works of other artists for physiognomy, i.e. the discipline that sought to study the character of people based on their physical appearance, and whether there was any relationship between appearance and character. ADDITIONAL INFORMATION: The work is sold complete with a 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. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In the case of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes about 10/20 days; our gallery will take care of the whole phase until it is obtained. All costs of this operation are included. 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/

Official Portrait Of A Knight In Armour, Titian Painter Of The Late 16th Century

Titian painter of the late 16th century Official portrait of a knight in armour (probably Charles V of Habsburg) Oil on canvas 141 x 112 cm. In antique frame 142 x 113 cm. All the details relating to this painting can be viewed at the following - LINK - This fascinating posed manly portrait, in which the effigy of noble social extraction is immortalised in sumptuous ceremonial armour while holding the sceptre of command, can be recognised as a work by a Renaissance painter of Italian heritage, specifically Titian Vecellio (Pieve di Cadore 1490 - Venice 1576). Titian made a decisive contribution to making the 16th century the golden age of portraiture, in which the ancient classical tradition of realistic portrayal attentive to the definition of individual characters was revived and renewed. In turn-of-the-century Venice, Titian thus became one of the most sought-after 'representational' portraitists: his speciality was the court portrait, with which he immortalised sovereigns, popes, cardinals, princes and condottieri, generally full-length or more often half-length, three-quarter-length or seated, in official poses. The themes of strength, virile prowess and the boldness of arms and armour became highly topical in the 16th century, suggesting that being portrayed in arms was a real necessity to impose one's status and to convey an image of authority and the legitimate exercise of power. As we can see in our painting, the painter's attention is focused on the austerity of the physiognomy and pose in armour aimed at the representation of power, embodied in our effigy. Our painter is extremely attentive to detail and executes the model perfectly: a figure standing half-length, slightly three-quarter-length, with the staff of command held as if it were a royal sceptre, a dark background that enhances the minute details of the chiselling of the armour, a severe expression and a gaze that yields to the temptation to stare at the spectator. In order to arrive at a plausible attribution, it is appropriate to digress on the importance that Titian assumed for portraiture at a European level: already appointed official painter of the Serenissima, by the mid-16th century the master's career was already immense, so much so that among his greatest admirers and patrons were Charles V and his son Philip II of Spain, although he never moved from Venice. The work is in fact extremely similar to one of the many portraits that Titian painted of the Habsburg king Charles V (1500-1558), in armour and with the baton of command, executed around 1530, the traces of which have been lost, but which has been handed down to us thanks to a copy made by Rubens in 1603 (link: https://www.everypainterpaintshimself.com/article/rubens_copy_of_titians_charles_v_in_armor_with_a_d.... ) The painting is in a good state of preservation. Complete with gilded frame. ADDITIONAL INFORMATION: The painting is sold 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/