Christ And The Samaritan Woman, Francesco De Mura (naples 1696-1782) - Galleria Castelbarco - Recent Added Items

Galleria Castelbarco

→ www.antichitacastelbarco.it

Christ And The Samaritan Woman, Francesco De Mura (naples 1696-1782)

• • • • • • • • •

SOLD

Christ And The Samaritan Woman, Francesco De Mura (naples 1696-1782)

0 €


Francesco de Mura (Naples 1696-1782) Christ and the Samaritan woman at the well Oil painting on canvas (75 x 102 cm. - Framed 85 x 111 cm.) Expertise of the prof. Emilio Negro (Bologna) All the details relating to this painting can be viewed at the following - LINK - The valuable painting in question presents a well-known episode from the life of the Savior, narrated in the Gospel of John (Jn 4, 1-30), namely the dialogue between Christ and a Samaritan woman at Jacob's well, just outside the gates of the city of Sicar. Although the customs of the time did not allow the Jews to speak with foreigners, Jesus took advantage of the circumstance to impart one of his profound teachings and, approaching the well to get some water, spoke to ask the woman for a drink, in the presence of the apostles who witness the scene in astonishment. *The theme was one of the most anciently frequented by Christian art given its strong symbolic meaning: the meeting with the Samaritan woman has the symbolic meaning of the innovation brought by Christ who offers the good news even to those who are not considered pure Jews. Now observing the canvas in its compositional aspect, with its sparkling palette, the theatrical gestures that animate the characters, the narrative brilliance and the undisputed pictorial quality, we can easily support the attribution to Francesco de Mura (Naples, 1696 - 1782) , one of the greatest interpreters of 18th century Neapolitan painting. To confirm its certain paternity, it is easy to cite the correspondences with Christ and the Samaritan Woman, dated 1752, now in the Seattle Art Museum in Washington, originally located in the Church of Gesù Nuovo, in Naples. Having said that, observing in detail the stylistic and compositional aspects as well as the refined execution in the attention to detail we are led to conclude that the work proposed here was created by the master himself (see photo in details). URL: http://catalogo.fondazionezeri.unibo.it/scheda/opera/65746/Mura%20Francesco%20de%27%2C%20Cristo%20e%... Here the artist was able to offer a synthesis of the chromatic seductions of rococo and neoclassical influences and presents a luminous and calm version of this episode, where the figures stand out against an exquisitely Arcadian landscape. The meeting of the two main characters is theatrical, since the contrasting posture of the Samaritan woman opposes that of Christ, according to a scheme that we often find in the works of Dl Mura, a painter much loved in Naples, where he managed to obtain important commissions for canvases altar and easel paintings by prelates and noblemen of the lively Neapolitan court. In this regard it is appropriate to point out that in them the pictorial lexicon of the most lively eighteenth-century Neapolitan figurative culture is highlighted, that is, derived from the study of the works of great masters such as Luca Giordano, Francesco Solimena and Paolo de Matteis, without neglecting the light pictorial ductus and the colors vaguely pearly resulting from knowledge of the works of Corrado Giaquinto. ADDITIONAL INFORMATION: The work is completed by a pleasant golden frame and is sold accompanied by a certificate of authenticity and guarantee. We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Request for more information
Request for more information
See more items of this dealer
Print
Share this object Facebook Twitter Google Pinterest

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

Gaspare Diziani (belluno 1689 - Venice 1767) Portrait Of A Young Princess (salome?)

Gaspare Diziani (Belluno 1689 - Venice 1767) Portrait of a Young Princess (Salome?) Oil on canvas 42 x 33 cm Framed 70 x 63 cm A charming portrait of a beautiful young woman with an absorbed gaze, sumptuously attired in a dress of exquisite fabrics, precious jewellery, and with her hair loose, partially covered by a red veil stopped by a golden tiara. This is the protagonist of our beautiful canvas who, given the characters just listed, would lead us to think of the portrait of a princess, presumably Salome, but also Catherine of Alexandria, a favourite subject in ancient art, or Cleopatra because of the pearls embellishing her face, although these are only hypotheses given the absence of attributes that would unequivocally identify her. Of beautiful quality and preservation, the canvas shows features that indicate the Venetian genesis of the execution, due to the chromatic exuberance and vividness of the drafting; in particular, we are inclined to attribute its execution to Gaspare Diziani (1689-1767), a refined painter and protagonist of the 18th century Venetian artistic scene. We see his typical use of colour, with a palette of warm, vibrant tones, and soft chiaroscuro, with light effectively distributed to create a beautiful sense of depth and volume. The details in the clothing, facial features and objects accompanying the figure are also very precise, demonstrating the artist's technical skill. Arriving in Venice from Belluno around 1710, Diziani was a pupil first of Gregorio Lazzarini, the last provincial interpreter of Baroque tenebrism, and then of Sebastiano Ricci, whose teaching was decisive in the formation of a painting rich in matter, chromatic accentuation and strong, nervous brushstrokes. Initially dedicated to theatre sets, during the second decade his activity moved to Dresden, to the court of Augustus III of Saxony and to Munich. In 1720 his presence in Venice is again documented, but we also know him to be present in several cities in the Veneto region, painting works of artistic value, especially in Belluno and Padua. ADDITIONAL INFORMATION: The work sold is completed by an attractive gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you 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 procedure 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/

Allegory Of The Triumph Of Art Over Time, Matthias De Visch (la Reninge, 1701 - Bruges, 1765)

Matthias de Visch (La Reninge, 1701 - Bruges, 1765) Signed and dated on the edge of the globe: M. De Visch 1739. Allegory of the triumph of Art over Time (Music and Astrology that contribute to the harmony of the spheres) Oil painting on canvas 64 x 139 cm. - Framed 80 x 155 cm. Provenance: Eric La Pipe (Brussels, Belgium), private collection Work published in the RDK archive (Netherlands Institute for Art History): https://rkd.nl/images/208961 We are in front of a beautiful allegorical work, with at the center the sublime figure of Apollo, the god of music and science, as well as the one who pulls the chariot of the Sun through the celestial vault. At his side is portrayed an elderly man with large and full-bodied wings, who would represent the personification of Time (according to the saying "Volat irreparabile tempus") and therefore of the god Kronos, who holds the sphere of the celestial vault with the signs of the zodiac with one hand , alluding to the passage of time. The work, traditionally known as 'Allegory of the triumph of Art over Time', would therefore like to highlight the immortal beauty of the god Apollo and his enchanting music, capable of deceiving the passage of time and lasting for eternity. By carefully examining the subject in our pleasant composition, we will at the same time be inclined to an alternative interpretation, with Music and Astrology as protagonists, first considered by Pythagoras as two sciences closely connected to each other, linked by a very fascinating profound meaning, defined as ''Harmony of the spheres''. This doctrine referred to a particular property of the Universe which, through the movements of the planets, produced a musical chord of great intensity and beauty. This metaphor of nature as a perfect symphony leads us to see Apollo as the emblem of this order of the world: with his famous lyre and surrounded by scores and musical instruments he becomes the conductor of a sort of "planetary concert" ; next to him is Time which marks the passing of the hours and therefore the movement of the stars. The interpretations on the reading of the subject are articulated on multiple allegorical levels, integrated in a coherent way with each other. It is therefore a work that gives us multiple ideas for study, while at the same time being a painting of great aesthetic and decorative value. The painting, certainly commissioned by an erudite client of the time, is a signed and dated work by the Flemish painter Matthijs (or Matthias) de Visch (1701 in Reninge – 1765 Bruges), known mainly for his allegorical scenes, executed in a style from late-baroque character, although its typical use of soft tones would take us into rococo. He was a pupil of Joseph van den Kerckhove, in Bruges, but numerous trips were fundamental for his training, especially in Italy where he remained for over nine years, between Venice, Parma and Piacenza, and Paris, before returning to his homeland and becoming director of the Bruges Academy of Art in 1739. ADDITIONAL INFORMATION: The work is completed by a pleasant gilded wooden frame and is accompanied by a certificate of authenticity and guarantee. We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Winter Landscape, Francesco Foschi (ancona, 1710 - Rome, 1780) attributable

Francesco Foschi (Ancona, 1710 - Rome, 1780) Attributable Winter landscape Oil on canvas 76 x 63 cm. - In frame 87 x 75 cm. The compositional and stylistic elements of this pleasant snowy landscape allow us to link its authorship to the painter Francesco Foschi (Ancona, 1710 - Rome, 1780), who became famous for his evocative winter landscapes. Ancona-born and of noble origins, the painter received his training in Rome where he moved with his family in 1729, and later began his activity as an art dealer when he took up his last residence in Piazza di Spagna in 1764. It was around the middle of the century that Foschi began to devote himself to landscape painting, specialising in country views and winter landscapes such as ours, a genre already widespread in Flanders since the 16th century but little frequented in Italy, except by a few Venetian painters such as Marco Ricci or Giuseppe Bison. Foschi's winter landscapes, in particular, often depict views of his Apennines, and were very popular especially with wealthy foreigners who travelled the Italian peninsula from north to south on their Grand Tour. Many of his canvases took the route to the English and French markets, the latter proving particularly favourable to his production, where he was known in his painterly maturity as 'Chevalier Foschi'. Recurrent in Foschi's paintings is the bare tree (or group of trees) in the foreground covered in snow, which almost constitutes a signature of the artist, as well as the motif of the small bridge and the classic country cottages with thatched roofs. As is often the case in this type of work, the author tends to accentuate the presence of nature, making the characters on a smaller scale. Our attribution would be confirmed by comparison with 'A winter landscape with peasants next to farmsteads' painted by Francesco Foschi - with a compositional structure perfectly superimposable to the proposed canvas but in a horizontal format - and passed at Christie's in London (Old Master Pictures, 10 Dec 2003, lot 89, URL: https://www.christies.com/en/lot/lot-4221021?ldp_breadcrumb=back). Another extremely similar composition is the painting, 'Winter Landscape with River, Bridge, Rustic House and Figures', which passed through Sotheby's and was again attributed to Francesco Foschi (5 July 1970, lot 10) URL: https://catalogo.fondazionezeri.unibo.it/entry/work/80912/Foschi%20Francesco%2C%20Paesaggio%20invern... And again the 'Winter Landscape with fortified buildings' from the Glasgow Museums Resource Centre URL: https://artuk.org/discover/artworks/a-winter-landscape-with-fortified-buildings-83987 ADDITIONAL INFORMATION: The painting is completed by an attractive antique gilded 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. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes about 10/20 days; our gallery will take care of the entire phase until it is obtained. All costs of this operation are included. Contact us for any information, we will be happy to answer you. Follow us also at: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

The Temptations Of St. Anthony, David Teniers II The Younger (antwerp 1610 - Brussels 1690)

David Teniers II, the Younger(Antwerp, 1610 - Brussels, 1690) Workshop of The Temptations of St. Anthony Abbot Oil on canvas 61 x 90 cm. - Framed 95 x 125 cm. All the details relating to this painting can be viewed at the following - LINK - The evocative theme of the 'Temptation of St. Anthony', which spread from the 15th century onwards especially in the Flemish sphere, sees the tormented abbot during his pilgrimage in the desert, forced to resist temptations sent by the Devil to test his faith. In the painting, in particular, Saint Anthony is kneeling in prayer, depicted surrounded by a multitude of grotesque demons and fantastic creatures, figures symbolising vice and all man's basest instincts. Also harassing the saint are two attractive temptress women, one of whom hands him a chalice with wine to symbolise the evil nature of vice, an invitation to drunkenness and earthly pleasures and thus to lust. She has been sent by the devil as a trick to shake the faith of the saint, who draws strength from the Holy Scriptures and is intent on reading, and from the skull and crucifix placed in the foreground, symbolising salvation. The figure at his side holding the scales is probably the devil himself, recognisable by his horns. The canvas perfectly matches the compositional style of David Teniers II (1610 - 1690), one of the most important Flemish painters of the 17th century, who particularly loved this subject and reproduced it in countless versions during his career, now scattered in public collections and private collections all over the world. The hybrid bestiary used by Teniers to evoke the forces of evil comes directly from the repertoire of great Flemish artists, such as Hieronyimus Bosch or Jan Brueghel, whose complex symbolism gave way to a proliferation of rather suggestive demons. The canvas is an emblem of his fantastic vein, which, thanks to the richness of the details, the depiction of the characters and the fantastic animals that animate the scene, was able to create an atmosphere at once fascinating and mysterious. The artist made use of a rich and vibrant colour palette and a beautiful play of light and shadow, with the Saint appearing irradiated by a light, symbolising the illumination of faith. Among the painter's most famous works on this theme are those housed in the collections of the Prado Museum in Madrid (https://www.museodelprado.es/coleccion/obra-de-arte/wd/3f43ea58-7747-4915-8c47-354148846f04), the Museum of Fine Arts in Lille in France (Inventory number P95.) or, to name but one more, that of the Dresden Museum (https://skd-online-collection.skd.museum/Details/Index/408758). Among the others, among those most similar to ours are the painting in the Museum of Fine Arts in Antwerp (https://commons.wikimedia.org/wiki/File:David_Teniers_the_Younger_-_Temptations_of_St_Anthony_in_a_G...) or the one in the National Museum in Warsaw (https://commons.wikimedia.org/wiki/File:David_Teniers_II_-_Temptation_of_St._Anthony_-_M.Ob.1437_MNW...) ADDITIONAL INFORMATION: The work is completed by an attractive frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Battle With Clash Of Horsemen, Francesco Graziani (active In Naples/rome, 17th Century)

Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period frame cm. 114 x 148 Expertise E. Negro This interesting painting depicts an animated scene of armed combat between knights in armour, bordered on the horizon by hills and a sky criss-crossed with white clouds that are brightened by glimpses of light. A ruined round tower, fortifications and a dense column of smoke can be seen, while in the foreground, on the left, is a knight fallen to the ground with his standard, in the centre two duellists armed with pistols and around them numerous men on horseback engaged in the fight. It is therefore a canvas celebrating the deeds performed during a war campaign, although difficult to identify, but which probably took place in the second half of the 17th century, as evidenced by the types of armour and costumes of the combatants. Both the invention and the stylistic qualities of the painting decisively refer to the prestigious Neapolitan school of battlers that flourished in the second half of the 17th century, highlighting its typical stylistic features. In particular, there is a thick material with warm, full-bodied colours; the painting is then uniformly illuminated by a particular light, which is useful for turning the volumes of the figures and smoothing the forms; these colours and the marked physiognomic features of the characters are effectively outlined with just a few touches of the brush. This pictorial current was headed by talented masters such as Salvator Rosa, Jacques Courtois known as il Borgognone and Marzio Masturzo. However, it is to the works of Francesco Graziani, known as Ciccio Napoletano (active in Rome and Naples during the second half of the 17th century), that our painting can easily be linked, although the singular brilliance of the colours and the luminosity of the scene would not make the painting disfigure next to similar compositions executed by the previously mentioned battle painters. Although there is little certain information regarding Francesco Graziani's education (many sources report that he was a pupil of Borgognone) and subsequent activity, it is known that he moved from Naples to Rome in the last decades of the 17th century, soon becoming a well-established painter among the patrons of the Urbe. The general character of the works presents that synthesis of rapid touches and vigorous emphasis that is perfectly attributable to the catalogue of Graziani, who composes his scenes with crowded movements where the characters are delineated with a rapid and nervous, almost curly stroke, invigorated by effective luministic touches. ADDITIONAL INFORMATION: The work is completed by a beautiful antique frame and is sold with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Portrait Of Charles I King Of England, Anthoon Van Dyck (antwerp 1599 - London 1641)

Portrait of Charles I, King of England (1600-49) Anthoon van Dyck (Antwerp 1599 - London 1641) Follower of Oil on canvas 93 x 86 cm - Framed 131 x 124 We are sharing a valuable work, an oil on canvas painting of the famous 'Portrait of Charles I of England on Horseback' by Anthoon van Dyck (Antwerp 1599 - London 1641) painted in 1633; it is a masterpiece of Baroque art that stands out for its majestic composition still belonging to the British Royal Art Collection and housed in Windsor Castle (image 1). In 1632 Van Dyck arrived in London, where he was elected court painter to King Charles I Stuart, King of England, his main patron and at the same time a great collector sensitive to contemporary art. In addition to the sovereign's boundless love for art, Charles also saw it as a powerful means of political propaganda, especially in the difficult years just before the civil war. Van Dyck portrayed the sovereign on numerous occasions, both surrounded by his family, with his wife Enrichetta, and alone. The most ambitious are undoubtedly the paintings of the equestrian series, where the artist offered a proud and majestic image of an absolute monarch: in addition to the painting mentioned above, Van Dyck painted two other important portraits of the king on horseback: 'Charles I on Horseback' (1636, National Gallery, London), 'Le Roi à la Chasse' (c. 1635, Paris, Louvre) These portraits see Charles I on horseback on an unprecedented scale, as sovereign, warrior and knight, in the long tradition of ancient and Renaissance equestrian monuments. And our canvas echoes its structure, although it makes several personalisations, with the ruler riding through a triumphal arch, wearing parade armour and holding the baton of military command while riding a splendid white horse. These elements, in addition to the display of the great coat of arms bearing the symbols of the Stuart royal dynasty, reinforce his image as the ruler of Great Britain, while the king's refined features, loose hair and gentle, thoughtful expression convey the impression of a chivalrous knight. We are of the opinion that the painting presented here, finely executed with its effective composition, is the work of a Flemish artist, active between the 17th and 18th century, to be found among the followers of Anthony van Dyck, who masterfully reworked his masterpiece; The success of the work favoured its widespread diffusion, so much so that numerous paintings are known to have been executed by artists from Van Dyck's circle/shop or active at a time immediately after the canvas was created, to please some patrons who wished to have the effigy of the monarch for their residences as a clear sign of loyalty to the sovereign dynasty. imm.1 Antoon van Dyck, Portrait of Charles I with M. de Saint-Antonie his riding master, 1636, oil on canvas, 370 x 270 cm, Windsor Castle Url: https://www.rct.uk/collection/405322/charles-i-1600-1649-with-m-de-st-antoine Conservation status: the painting is in a good state of preservation with some restoration present near the background landscape ADDITIONAL INFORMATION: The work sold is complete with a beautiful frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Virgin And Child, Franco-catalan Sculptor 13th-14th Century

Virgin and Child Franco-Spanish sculptor from the Catalan/Pyrenean area Late Middle Ages, 13th-14th century Carved oak, flat back Height: 67 cm Fascinating and rare wooden sculpture depicting the full-length Virgin holding the Child with her left arm, the work of a Franco-Hispanic artist, presumably active in the Catalan/Pyrenean area between the 13th and 14th centuries (1200/1300). This is an important testimony of Medieval sculptural art, with its preciousness and historical merits, and which, despite its evident simplicity of execution, exudes an incredible strength and refined stylistic purity. We are precisely in the Late Middle Ages, a period of profound artistic evolution that, passing through the important lesson of Romanesque art, would evolve over the following centuries, culminating in the artistic splendour of the Renaissance. Sculpture, while retaining some characteristics still belonging to the habits of the previous century, developed new formal solutions, and the primitive stylistic rigour of Romanesque art here saw a metamorphosis to the novelties of Gothic art, which we can recognise, for example, in the soft and natural draping of the Virgin's robes. Consequently, while Mary still partly maintains a hieratic posture, her son appears more dynamic, especially in the positioning of his hands, one of which extends towards the other as if for an embrace, and his head turned slightly towards his mother. The wooden essence of the sculpture is oak, with a texture that is still solid and compact, although there are some small faults and wear dictated by time. ADDITIONAL INFORMATION: The work sold comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you 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 procedure 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/

The Annunciation, Antonio Del Ceraiolo (active In Florence, Early 16th Century)

Antonio del Ceraiolo or 'the Ceraiolo (Active in Florence, second-fourth decade of the 16th century) Attributable The Annunciation Oil on canvas 99 x 137 cm. In a fine period box frame 121 x 163 cm. All the details relating to this painting can be viewed at the following - LINK - The proposed superb Annunciation, most likely commissioned for private devotional use or perhaps for a church chapel, given its size, is a valuable work with an effective devotional intensity, capable of engaging and fascinating the viewer. It presents itself with a rather well-established iconographic scheme, with the Archangel Gabriel on the right, of ethereal beauty, appearing with an imperious air as he delivers the supreme announcement to the Virgin Mary; suspended in flight above a cloud, with one hand he holds white lilies, symbol of purity and chastity, while the other points to the dove radiating with light, emblem of the Holy Spirit, surrounded by a halo of intense glow and play of light. The work can be ascribed to the pictorial current of the early 16th century in Tuscany, an extraordinarily happy artistic period that saw a host of leading artistic personalities succeed one another, making Florence one of the most influential centres for painting of the time. Carefully analysing the characteristics of style and composition, the canvas can be ascribed in our judgement to the catalogue of Antonio del Ceraiolo, active in Florence between 1520 and around 1538, of whom it shows the typical stylistic characteristics, the symmetry of the composition, the purity of the physiognomy and the particular devotionality. Mentioned by Vasari as a painter of fine altarpieces, he was a pupil first of Ridolfo del Ghirlandaio, and then of Lorenzo di Credi, both highly successful and esteemed painters in the first half of the 16th century, but he was greatly influenced by the culture of the San Marco school and the painting of Fra' Bartolomeo. An emblem of Florentine Renaissance beauty, the structure of our Annunciation is based solely on the two sacred figures, where the total absence of spatial setting stands out, explicitly testifying to the simplified manner often adopted by Ceraiolo. The composure of the figures standing out sharply against the background is also reminiscent of the silhouettes of his figures, often arranged symmetrically opposite each other. We can mention by way of comparison the ''St. Catherine of Siena and Saints'' of 1515-20 (Santa Trinita, Florence, Imm.1), or the ''Madonna with Child and St. John'' (Christie's Auction, London, 30 November 1979, no. 52, Imm. 2) and also the ''Christ in the House of Martha and Mary of Bethany'' of 1524 (Gemäldegalerie, Staatliche Museen, Berlin , Imm.3) The Virgin wears a thin veil that encircles her hair as a sign of modesty in the work just mentioned, a blue mantle, the colour symbolising heaven and a reminder of her role as Queen of Heaven, and a red habit. Finally, we can compare the particular technique used by the painter for the rendering of the faces and complexions, with the cheeks emphasised by an intense pinkish tinge taken up also on the nose that stands out from the pale complexion, with a Female Portrait, possibly a study (Private Collection, Holland, Imm.4) with the same soft smile on the lips. Considering that the Annunciation was one of the most popular subjects in Florence at the time, the present composition can be compared with other similar subjects painted by our painter, such as the two works depicting respectively the Virgin and the Announcing Angel once in the Church of S. Caterina delle Ruote in Florence, c. 1524, now in the Accademia Museum in Cortona (Imm.5), and the Annunciation in the Museo di Palazzo Vecchio in Florence (Imm.6) Imm.1: https://it.wikipedia.org/wiki/File:Antonio_del_ceraiolo,_santa_caterina_da_siena_e_santi,_1515-20_ca.... Imm.2: http://catalogo.fondazionezeri.unibo.it/scheda/opera/36568/Antonio%20del%20Ceraiolo%2C%20Madonna%20c...) Imm.3: http://catalogo.fondazionezeri.unibo.it/scheda/opera/36355/Antonio%20del%20Ceraiolo%2C%20Cristo%20in.... Imm.4: http://catalogo.fondazionezeri.unibo.it/scheda/opera/36434/Antonio%20del%20Ceraiolo%2C%20Ritratto%20.... Imm.5: https://commons.wikimedia.org/wiki/File:Antonio_del_ceraiolo,_annunciazione,_dalla_distrutta_chiesa_.... Imm.6: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900293185 Good condition. Fine 16th century Tuscan cassette frame, lacquered in black with typically Renaissance gold decoration. ADDITIONAL INFORMATION: The work comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Lucas Van Uden (antwerp 1595 - Antwerp 1673) Signed, Hillside Landscape With Pond

Lucas Van Uden (Antwerp 1595 - Antwerp 1673) Signed lower right: (Lucas v. ud...) Hillside landscape with pond oil on wood panel 34 x 54 cm, with frame 51 x 71 cm. Work published in the RDK archive: https://research.rkd.nl/nl/detail/https%3A%2f%2fdata.rkd.nl%2fimages%2f48572 Provenance: Christie's (Important Old Master Pictures, 10 July 1998, London, page 149 of the catalogue, Estimate: € 22,754 - € 30,338 (£15,000 - £20,000)) D24-034 € 8.500 REQUEST INFORMATION The proposed painting is attributed to Lucas Van Uden (Antwerp 1595 - 1672), a Flemish painter and engraver specialising in landscapes and active mainly in Antwerp in the 17th century. The painting is catalogued as an autograph work in the archive of the RKD Netherlands Institute for Art History (https://research.rkd.nl/nl/detail/https%3A%2f%2fdata.rkd.nl%2fimages%2f48572), where it is listed as having passed through Christie's with an estimate of £15,000-20,000 (Important Old Master Pictures, 10 July 1998, London, page 149 of the catalogue). Van Uden's great talent was to observe nature, often from life, reporting the luminous effects of atmospheric changes. His landscapes, which tended to be relatively traditional in terms of composition, are in fact remarkable for their skilful manipulation of light, an aspect that we can also detect in the present work, where the brightly coloured sky is clearing as a thunderstorm is drawing to a close. In his paintings, which show sweeping but meticulously detailed views, in which the green of nature in its various shades stands out, there are small human figures: fishermen, travellers or peasants, who were often painted by David Teniers II, with whom he occasionally collaborated. The works are based on a recurring compositional and stylistic scheme: the foreground usually has a small bank animated by figures and surmounted by slender birch trees. In the centre there are hilly landscapes that go deep into the landscape, with quiet atmospheres, small country buildings, small lakes or rivers with reflections of trees and clouds, shrubs or rows of trees with dense, rounded foliage. Autograph works by the painter: - Landscape with Rainbow, Shepherds and Sheep, 1648, 86 × 139 cm, oil on canvas (canvashttps://www.kansallisgalleria.fi/en/object/480729) - Landscape with Travellers, oil on panel, 42 × 65 cm, art dealer Salomon Lilian (https://rkd.nl/images/219217) - Hillside Landscape with Women and Cattle, dated 1644, oil on panel, 43 x 65 cm (https://rkd.nl/images/266170) - Large landscape with an elegant group of falconers on the shore of a lake, oil on canvas, 37 x 58 cm, Private Collection Rev. Lord Augustus FitzClarence (https://rkd.nl/images/215077) - Large landscape with the Holy Family and St. John the Baptist, oil on panel, 40 x 63 cm (https://rkd.nl/images/39023) ADDITIONAL INFORMATION: The work is sold complete with a frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Violin Player, Hendrick Ter Brugghen (the Hague 1588-1629 Utrecht) Workshop

Hendrick ter Brugghen (The Hague 1588-1629 Utrecht) Workshop Violin Player Oil on canvas 72 x 60 cm. Framed 87 x 78 cm. An analysis of the composition and style of this interesting portrait of a violin player allows us to attribute its execution to the workshop of the Flemish painter Hendrick ter Brugghen (The Hague 1588 - Utrecht 1629), illustrating a subject typical of the figurative repertoire devised and disseminated by the great master. A highly talented Dutch painter, Hendrick ter Brugghen was a leading member - together with Dirck van Baburen and Gerrit van Honthorst - of the 'Utrecht Caravaggists', a group of artists who moved from the Dutch city to Rome in the early 17th century where they were fascinated by Caravaggio's painting. They were deeply marked by the great master's innovation and, on their return to their homeland, introduced the same realism in their choice of subjects and intense chiaroscuro into their work. Our work is an excellent illustration of this, with a well-dressed gentleman delighting in playing a violin, caught in a sneering expression and an open-mouthed laugh, as he scrutinises the viewer directly. The musician theme enjoyed great popularity from the early 1720s onwards, and these authors were the first to import this theme, already beloved of Italian art, to Northern Europe. On his return to Utrecht, he moved away from purely religious subjects to concentrate on allegories and genre scenes, especially those with concerts and single musical figures, characterised as in our case by the vigorous use of the chiaroscuro technique, as well as the realism of the figures, and emotionally charged characters. The close, almost life-size composition lends the work realism and immediacy, further enlivened by dramatic lighting effects that emphasise the musician's ruddy complexion. Wearing a broad hat adorned with an extravagant ostrich feather, the cheerful violinist in this painting is intent on playing his instrument with skill. The costume is certainly not 17th century street dress, but rather the theatrical 'Burgundian' style adopted by Caravaggio. However, by isolating the figure against a neutral background and removing it from the broader context that Caravaggio would have provided, Ter Brugghen transforms his violinist into an emblem of pure, uninhibited and contagious gaiety. We find this type of subject matter in numerous of his compositions, thanks to which the artist acquired great fame and collector's fortune, considered to be his speciality, in which the highly realistic (at times almost caricatured) definition of the characters is accompanied by an iconography of great character. Here we mention, for example, the Lute Player from the National Gallery (https://www.nationalgallery.org.uk/paintings/hendrick-ter-brugghen-a-man-playing-a-lute), the Violin Player with Glass from the Royal Collection Trust (https://www.rct.uk/collection/405531/a-laughing-bravo-with-a-bass-viol-and-a-glass), and also the Violin Player from the Gemäldegalerie Alte Meister in Kassel (Germany) (http://catalogo.fondazionezeri.unibo.it/scheda/opera/100095/Ter%20Brugghen%20Hendrick%20Jansz%2C%20s...) Below are some works that have appeared on the antiquarian market: - Violin Player, Dorotheum Old Master Paintings, 03 May 2023 (https://www.dorotheum.com/en/l/8507536/) - Lute Player, Chrietie's, 31 Oct 2017 (https://www.christies.com/en/lot/lot-6104616) - A Young Man Playing the Violin, Christie's, London, 4 June 2014 (https://research.rkd.nl/en/detail/https%3A%2f%2fdata.rkd.nl%2fimages%2f27158) - The Merry Drinker, c. 1625 (https://it.m.wikipedia.org/wiki/File:Hendrick_ter_Brugghen_-_The_Merry_Drinker_-_Google_Art_Project....) ADDITIONAL INFORMATION: The painting is sold complete with a beautiful 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. 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/

Ecce Homo With Pontius Pilate, Michael Coxie (malines, 1499 - 1592) Circle Of

Circle of Michael Coxie (Malines, 1499 - Malines, 1592) Ecce Homo with Pontius Pilate Oil on panel Flemish school 16th-17th century 112 x 81 cm - framed 121 x 90 cm. The proposed painting is the work of a Flemish painter active between the 16th and 17th centuries from the circle of Michael Coxie (Malines, 1499 - Malines, 1592). It traces the famous compositions of the great master, who brilliantly tackled this classic of religious painting on several occasions [1], where the dramatic style is realised with a skilful play of light and shadow. [1] See for example the painting in the Alte Pinakothek in Munich, follower Michiel Coxcie (1497-1592) Ecce homo, 16th century URL: https://www.sammlung.pinakothek.de/en/artwork/Y0GR9wrLRX Ecce Homo is the Gospel episode during which Jesus, awaiting his condemnation and after his scourging, is presented to the people by Pilate, then the Roman governor of Judea, whom we see portrayed here at his side. The canvas immortalises the moment when the Saviour accepts his final fate: in his face, not only humiliation but a moment of deep introspection and emotion. He is portrayed with a crown of thorns placed over his long hair and stripped of his clothes, his hands tied and crossed, alluding to his immediate crucifixion on Golgotha. ''Ecce homo'', literally meaning Here is the Man, was the phrase uttered by Pilate himself to designate the scourged Jesus and to ingratiate himself with the crowd, aware that he had condemned an innocent man. This type of depiction of Christ would be very widespread in the 16th century, giving rise to particularly intense creations, especially in the Flemish sphere. We are certainly not in front of an 'easy' work, but one that is equally capable of moving, without leaving indifferent even those who do not prefer subjects of such strong emotional impact. Whipped and mocked while awaiting his martyrdom, it is striking that his face appears sad, resigned, but not suffering, evoking the compassion he granted his executioners. The panel is in a good state of preservation, considering its age, and is mounted on a wooden support to consolidate its structure. ADDITIONAL INFORMATION: The work sold is completed by an attractive gilded wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

Antique Russian Icon 'mother Of God Of Deesis, Central Russia - 19th Century

Antique Russian icon ''Mother of God of Deesis'' Central Russia - 19th century 71 x 40 cm. Egg tempera on wooden panel Antique Russian icon with the Mother of God, portrayed full-length and turned three-quarters to the right, with one hand raised on her breast in sign of prayer and the other holding an open scroll. The particular depiction, with the Virgin alone without the Child, represents a variant of the particular Marian iconography known as Aghiosoritissa (Greek for 'Intercessor'), first widespread in Byzantine art and then in all European countries in the medieval period. In particular, our icon must have originally been part of a more complex composition, commonly referred to as 'the Deesis', a type of representation that features the figure of the Blessing Christ in the centre, with the Virgin Mary on the left and St John the Baptist on the right, both in the act of prayer with the function of interceding for the sins of the faithful. Our icon therefore sees Mary, as mentioned, facing to her right where ideally Christ would have been enthroned. The proposed icon is of excellent quality and comes from central Russia, made in the 19th century. Both the format and the large size make it very rare and of great interest to the Russian art collectors' market. ADDITIONAL INFORMATION: The work sold comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. You can also see the icon 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 procedure 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/

Home > Recent Added Items > Galleria Castelbarco > Christ And The Samaritan Woman, Francesco De Mura (naples 1696-1782)