Galleria Castelbarco
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
  • 'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)
'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)

8800 €


Pieter Angillis (Dunkirk, 1685 – Rennes, Ille-et-Vilaine, 1734) Signature: the first signed 'P Angellis F(ecit)', at the base of the stone column in the lower right corner a) Banquet with Concert / b) Brawl pair of oil paintings on canvas 50 x 59 cm - framed: 62 x 72 cm Provenance: Bonhams London, Old Master Paintings, April 27, 2016, lot 95, Estimate: 8,000/10,000 Euro https://www.bonhams.com/auction/23252/lot/95 The lively and detailed scenes depicted in our pair of paintings, representing respectively a cheerful banquet and a brawl that broke out during a card game, bear the signature of Pieter Angillis (Dunkirk, 1685 – Rennes, Ille-et-Vilaine 1734) - 'P Angellis F(ecit)’,- a French/Flemish painter of the Baroque and Rococo periods, famous for his genre scenes and city markets. Looking more closely, in the first painting we are likely witnessing a banquet or a musical celebration, a typical subject of 18th-century Flemish art. The group of people is conversing amiably around a lavishly set table, with a musician in the center playing the lute while addressing the woman leaning against the column. The composition includes typical elements such as food, domestic animals (a dog, a small monkey, and a parrot hanging overhead), and a large decorative vase in the classical style. The second work, however, depicts the turmoil of a brawl between two male figures, likely arising during or after a card game—another common theme in genre painting of the era used to represent bourgeois or working-class life. In the center, a visibly worried female figure tries to calm the standing man, who is ready to draw his sword, while in the background other characters interact animatedly and on the right a dog watches the scene anxiously. These are two typical works by Pieter Angellis, whose painting was strongly influenced both by his training in his hometown, located in southern France, and by his travels throughout Europe—first to Antwerp, where he became a master of the Guild of Saint Luke in 1715, then in London for about sixteen years (c. 1719–1728) in the Covent Garden district, in Rome, Italy (1728–1731), and finally in Rennes, Brittany, where he achieved great success. Thanks to these constant moves, his style was shaped by a diverse blend of influences, skillfully combining the Flemish meticulousness of David Teniers the Younger with the French elegance of Antoine Watteau. His intelligent and never banal compositions are reflected in a striking theatrical effect, determined above all by a narrative function achieved through a masterful use of light. For comparison, we present below a few works—drawn from those published in the RKD catalog—with which one can compare compositional details: ‘Elegant Company in a Palace’ dated 1719 and ‘Musical Company on a Terrace’; both show the same dog and the same classical vase, then ‘A Musical Gathering in an Elegant Setting’ with the parrot observing the scene from above, and finally ‘Elegant Company Playing on a Terrace, dated 1719’, a pendant to the first work listed, featuring the same red drape that surmounts the scene, concealing a stone bas-relief on the back wall. Pieter Angillis, Sotheby's, London, Important British Pictures, 2002-06-13, lot number: 4 (image 1) https://rkd.nl/images/49058 Pieter Angillis, Sotheby's, Master Paintings and 19th Century European Art, 2017-01-27, lot number: 487 (image 2) https://rkd.nl/images/307378 Pieter Angillis, Christie's, London, Old Master Pictures, 2006-07-05, lot number: 81 (image 3) https://rkd.nl/images/192280 Pieter Angillis, Sotheby’s, London, Important British Pictures, 2002-06-13, lot 4 (image 4) https://rkd.nl/images/4906 ADDITIONAL INFORMATION: The works are sold complete with two antique gilded frames and are accompanied by 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: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
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'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)

'banquet' And 'brawl', A Pair Of Works By Pieter Angillis (1685–1734)

Pieter Angillis (Dunkirk, 1685 – Rennes, Ille-et-Vilaine, 1734) Signature: the first signed 'P Angellis F(ecit)', at the base of the stone column in the lower right corner a) Banquet with Concert / b) Brawl pair of oil paintings on canvas 50 x 59 cm - framed: 62 x 72 cm Provenance: Bonhams London, Old Master Paintings, April 27, 2016, lot 95, Estimate: 8,000/10,000 Euro https://www.bonhams.com/auction/23252/lot/95 The lively and detailed scenes depicted in our pair of paintings, representing respectively a cheerful banquet and a brawl that broke out during a card game, bear the signature of Pieter Angillis (Dunkirk, 1685 – Rennes, Ille-et-Vilaine 1734) - 'P Angellis F(ecit)’,- a French/Flemish painter of the Baroque and Rococo periods, famous for his genre scenes and city markets. Looking more closely, in the first painting we are likely witnessing a banquet or a musical celebration, a typical subject of 18th-century Flemish art. The group of people is conversing amiably around a lavishly set table, with a musician in the center playing the lute while addressing the woman leaning against the column. The composition includes typical elements such as food, domestic animals (a dog, a small monkey, and a parrot hanging overhead), and a large decorative vase in the classical style. The second work, however, depicts the turmoil of a brawl between two male figures, likely arising during or after a card game—another common theme in genre painting of the era used to represent bourgeois or working-class life. In the center, a visibly worried female figure tries to calm the standing man, who is ready to draw his sword, while in the background other characters interact animatedly and on the right a dog watches the scene anxiously. These are two typical works by Pieter Angellis, whose painting was strongly influenced both by his training in his hometown, located in southern France, and by his travels throughout Europe—first to Antwerp, where he became a master of the Guild of Saint Luke in 1715, then in London for about sixteen years (c. 1719–1728) in the Covent Garden district, in Rome, Italy (1728–1731), and finally in Rennes, Brittany, where he achieved great success. Thanks to these constant moves, his style was shaped by a diverse blend of influences, skillfully combining the Flemish meticulousness of David Teniers the Younger with the French elegance of Antoine Watteau. His intelligent and never banal compositions are reflected in a striking theatrical effect, determined above all by a narrative function achieved through a masterful use of light. For comparison, we present below a few works—drawn from those published in the RKD catalog—with which one can compare compositional details: ‘Elegant Company in a Palace’ dated 1719 and ‘Musical Company on a Terrace’; both show the same dog and the same classical vase, then ‘A Musical Gathering in an Elegant Setting’ with the parrot observing the scene from above, and finally ‘Elegant Company Playing on a Terrace, dated 1719’, a pendant to the first work listed, featuring the same red drape that surmounts the scene, concealing a stone bas-relief on the back wall. Pieter Angillis, Sotheby's, London, Important British Pictures, 2002-06-13, lot number: 4 (image 1) https://rkd.nl/images/49058 Pieter Angillis, Sotheby's, Master Paintings and 19th Century European Art, 2017-01-27, lot number: 487 (image 2) https://rkd.nl/images/307378 Pieter Angillis, Christie's, London, Old Master Pictures, 2006-07-05, lot number: 81 (image 3) https://rkd.nl/images/192280 Pieter Angillis, Sotheby’s, London, Important British Pictures, 2002-06-13, lot 4 (image 4) https://rkd.nl/images/4906 ADDITIONAL INFORMATION: The works are sold complete with two antique gilded frames and are accompanied by 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: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Battle Scene, Michelangelo Cerquozzi (rome 1602–1660) Circle

Battle Scene, Michelangelo Cerquozzi (rome 1602–1660) Circle

Michelangelo Cerquozzi (Rome 1602–1660) circle Battle Scene oil on canvas 38 x 48 cm. with frame 55 x 66 cm. The compositional and stylistic characteristics of this delightful battle scene, such as its dramatic intensity and dynamic composition, suggest a close connection to the work of the painter Michelangelo Cerquozzi (Rome 1602–1660), known precisely as the “Michelangelo of Battles” for his mastery of this genre, and one of the most celebrated exponents of Roman Baroque painting. Our work, in particular, captures the moment following a clash, with the knights about to assess the immediate aftermath of the battle. The detail of the landscape in the background is beautiful, featuring a city and an ancient hilltop fortress which, though barely recognizable, offers a realistic view of the suburban areas of the Eternal City. Scenes of this type were intended for 17th- and 18th-century collections not so much to celebrate grand war themes, but to decorate noble and bourgeois residences: battle paintings were particularly popular during the Baroque era and were often inspired by actual military events of the time, in an age of wars and armies that continually invaded Italian territory. The style evident in the canvas is a unique fusion of Italian tradition and the influence of Northern European painters present in Rome. This blend is a distinctive feature of Cerquozzi’s oeuvre, as he successfully combined the analytical attention to detail typical of the Flemish school with the narrative composition and chromatic sensibility of the Roman painting tradition. The work is in good condition, with a sound paint layer and some minor restoration points. ADDITIONAL INFORMATION: The work is sold complete with a charming antique 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. 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. If the work is purchased by international clients, an export permit will be required, which takes approximately 10–20 days to process; our gallery will handle the entire process until the permit is obtained. All costs associated with this procedure are included. Please contact us, with no obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
18th-century Flemish Painter, Still Life With Flowers And Fruit

18th-century Flemish Painter, Still Life With Flowers And Fruit

18th-century Flemish painter Still life with flowers and fruit, a cake, a precious goblet and cheese oil on canvas 73 x 98 cm. – with frame 98 x 129 cm. Provenance: Cambi, Genoa, 29 November 2011, lot 612, Estimate: €7,000–9,000 (link) Full details of the work (CLICK HERE) This still life depicts a rich and varied composition of objects typical of the Flemish Baroque tradition: the scene is a riot of abundance, with a sumptuous, partially cut savoury pie placed at the centre, an elegant knife resting beside it, inviting the viewer to join the feast, whilst in the background stands a majestic embossed and gilded goblet, a symbol of royalty and wealth. On the left, a glass vase overflows with a vibrant and lush bouquet of flowers, featuring roses, white blooms and tulips that create a striking chromatic contrast against the dark background and the warm tones of the centre. Every element is rendered with extraordinary realism: the crumbly texture of the cake’s crust, the sheen of the metal, the glossy, waxy surface of the lemons and apples, the porous texture of the large wedge of mature cheese, and the intricate shells of the walnuts scattered across the table. The theatrical lighting, emerging from the darkness, accentuates the depth and volume of the objects, creating an intimate yet grandiose atmosphere, emblematic of Flemish and Dutch mastery in this pictorial genre. It is a work that celebrates beauty, yet no object depicted is chosen at random; each carries a precise symbolic meaning, often linked to the theme of ‘Vanitas’ (the transience of life and earthly possessions): flowers represent ephemeral beauty par excellence, as does glass, whose transparency and delicacy directly allude to the fragility of existence. The precious goblet also alludes to material wealth and luxury that cannot be taken into the afterlife. Food evokes the same concepts; in particular, fruits such as nuts or peeled fruit indicate the need to look beyond material appearance (the shell) to seek spiritual substance. A painting of almost identical composition entitled ‘Fruit, Cheese and Cake on a Table’ was sold at Christie’s Paris (auction 2 March 2011, lot 171, in the manner of JUAN VAN DER HAMEN) Link: https://www.christies.com/lot/lot-maniere-de-juan-van-der-hamen-fruits-5412278/ ADDITIONAL INFORMATION: The painting is sold complete with an attractive frame and 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/
Victorious Judith, Galizia Fede (milan C. 1578 – C. 1630) Circle

Victorious Judith, Galizia Fede (milan C. 1578 – C. 1630) Circle

Galizia Fede (Milan c. 1578 – c. 1630) Circle Victorious Judith Oil on canvas 116 x 91 cm. – In an antique frame 149 x 125 cm. Full details of the work (click HERE) The work depicts a captivating portrait of the heroine Judith: victorious, at the centre of the painting, the woman is portrayed in her regal attire, adorned with precious ornaments and jewellery, the sword still clenched fiercely in one hand and the head of Holofernes held aloft in the other. This iconographic subject was much loved during the Renaissance, as it suited the taste of the time for the depiction of strong, often fatal passions, whilst at the same time embodying great moral values. Specifically, it depicts the biblical episode of the killing of the Babylonian general Holofernes by the beautiful and courageous Jewish widow Judith, who had devised a cunning plan to free her people from foreign domination. The woman waited until the end of a lavish banquet organised in honour of Holofernes and, after seducing him, waited for the man to fall asleep before killing him. Here we see her depicted immediately after her feat, with the elderly servant Abra witnessing the scene. There is a clear contrast between the smug composure born of her success and the grace and calm of the woman with her head in the foreground: the artist has in fact chosen to emphasise the heroine rather than the act itself, directing our gaze towards Judith’s virtues, through which she managed to defeat evil by her courage. The depiction therefore has profound symbolic value: despite the atrocious act in which she is the protagonist, Judith embodies great moral values. Presented as a symbol of the salvation that God offers to the Jewish people, she also rises to become an emblem of the Church itself and its salvific role, emphasised by the ethereal white of the woman’s complexion, which evokes purity. Worthy of mention are the details with which the jewellery she wears has been rendered, which highlight her beauty, such as the belt encircling her waist, or the garments covered with precious stones and pearls, as well as the hairpin set in her hair, and even the hilt of the sword, finished with great skill. This is a work of great merit, painted between the late 17th and early 18th centuries, still in the 16th-century style and with unmistakable Lombard stylistic features, which immediately bring to mind the name of Fede Galizia (Milan, 1578 –1630), a Baroque painter known primarily for her still lifes, although she also produced portraits and religious scenes. The artist tackled this subject on numerous occasions; for example, our painting bears a resemblance, albeit a reinterpreted one, to the ‘Judith with the Head of Holofernes’ in the Galleria Borghese in Rome, or to the painting of the same subject, signed and dated 1596, in the Ringling Museum of Art in Sarasota (**). Indeed, in the painting just mentioned, as in the work in question, the artist’s focus is not on the dramatic aspect of the scene, but rather on the portrait of Judith, on the perfect rendering of the garments, fabrics and jewellery. We know, in fact, regarding the refinement with which Fede Galizia rendered such details, that the painter benefited from the reputation achieved by her father Nunzio Galizia’s workshop, which specialised both in the production of paintings and miniatures, and in the creation of splendid ceremonial robes and theatrical costumes. **Judith with the Head of Holofernes - Fede Galizia (Milan c. 1578 – c. 1630) 1596, oil on canvas, 120 × 94 cm. Ringling Museum of Art, Sarasota URL: https://emuseum.ringling.org/objects/24553/judith-with-the-head-of-holofernes ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded frame and 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/
Neptune On The Waves Of The Ocean, Guercino (cento, 1591 – Bologna, 1666) W

Neptune On The Waves Of The Ocean, Guercino (cento, 1591 – Bologna, 1666) W

Neptune on the Waves of the Ocean Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 – Bologna, 1666) Attributed to Ercole Gennari (Cento, 1597 – Bologna, 1658) Oil on canvas 138 x 112 cm. Framed 160 x 135 cm. The work is accompanied by a critical study by Prof. Emilio Negro (Bologna, 2026) The mighty mythological figure, the great god of the seas Poseidon (the equivalent of Neptune in the Roman pantheon), stands as a life-size statue, portrayed in three-quarter profile amidst the waves of a coastal scene, which we glimpse on the right with a castle perched on the shore. Whilst the upper part of the body twists to the left, the head turns its gaze in the opposite direction, downwards, towards a sea creature emerging from the waters, attempting to strike it with the trident. On the left-hand side of the image, the surface of the sea stretches towards the horizon with a band of clouds, dimly lit by an evening sky, almost night-like. Her face is framed by flowing, slightly wavy hair, with a high forehead and wrinkles furrowing her brow. ADDITIONAL INFORMATION: The work is sold complete with a gilded wooden frame and 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. 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 further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Willem Wissing (1656 – 1687), Portrait Of The Duchess Of Marlborough

Willem Wissing (1656 – 1687), Portrait Of The Duchess Of Marlborough

Willem Wissing (Amsterdam, 1656 – Stamford, 1687) attributed Portrait of the Duchess of Marlborough as Minerva Oil on canvas 128 x 103 cm – in a gilt frame 149 x 125 cm. Provenance: Bears an old label on the reverse, Wanstead Collection, Essex (auction at Wanstead House, Essex, 21 June 1822, lot 326, page 121 of the catalogue ** see catalogue for details) Notes: According to this label on the reverse, the painting presented here, identified as “Portrait of the Duchess of Marlborough, in the guise of Minerva”, previously attributed to Willem Wissing, was published in the auction catalogue for the sale of the Wanstead Collection. In 1822, in fact, the entire collection of Wanstead House – one of the most important stately homes in Essex, commissioned in the early 18th century by Sir Richard Child from the Scottish architect Colen Campbell in the Palladian style – was sold at an auction that lasted a full 32 days in order to settle the substantial debts accumulated by the Earl’s heirs. It is a portrait of an elegant lady depicted with the attributes of the Roman goddess Minerva, namely a large shield, known as an aegis, upon which her left forearm rests, and a spear which she holds proudly in her right hand. The subject is believed to be Sarah Churchill (1660–1744), Duchess of Marlborough, one of the most influential figures in English history and a friend of Princess Anne Stuart of England. She wears a dress with a wide neckline, trimmed with lace at the edge and adorned with jewels. She has a delicate, fair complexion and her head, with almost black hair, is crowned with a large helmet featuring a feathered plume; she turns her head to one side, gazing out of the painting with her dark eyes. A high-quality painting, this is a type of portrait typically commissioned by the nobility, particularly in England, between the 17th and 18th centuries, where the sitter liked to be portrayed as a deity, with allegorical or mythological attributes, to elevate their status and worth. The work, which according to sources belonged to the prestigious collection of Wanstead House in Essex, is traditionally attributed to the painter Willem Wissing (Amsterdam, 1656 – Stamford, 1687), a celebrated Dutch painter of the Baroque period, known chiefly as a portraitist at the English court of the Stuarts and whose career flourished in England as the principal artistic heir to Sir Peter Lely. Following Lely’s death in 1680, Wissing inherited much of his clientele, becoming Godfrey Kneller’s principal rival. Wissing adopted from Lely the portraiture tradition that employed pastoral landscapes or classical deities to flatter patrons, a method typical of the Baroque era to confer an aura of ‘sacredness’ or ‘immortality’ upon political power. He was highly regarded by James II, who in 1685 sent him to the Netherlands to paint portraits of the future sovereigns William III of Orange and Mary II. He painted every reigning British monarch from King Charles II to King George I, as well as the most prominent figures in British society and public life. These works, displayed publicly in the royal palaces, were admired and so highly regarded by the public that they prompted a large number of patrons, mainly nobles, to commission his workshop to produce their own family portraits. His technique reflects the formal elegance and sensuality typical of Stuart-era court portraits, with a strong emphasis on the nobility and decorum of his subjects. A distinctive feature of his work, evident here, is his ability to idealise facial features, lending the faces an almost porcelain-like softness, with large eyes and a serene yet distant expression, typical of the high aristocracy. ADDITIONAL INFORMATION: The work is sold complete with a gilded frame and 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. 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 further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Ecce Homo, Jacopo Ligozzi (verona 1547 – Florence 1627) Workshop Of

Ecce Homo, Jacopo Ligozzi (verona 1547 – Florence 1627) Workshop Of

Jacopo Ligozzi (Verona 1547 – Florence 1627) Workshop of Ecce Homo oil on octagonal canvas 118 x 94 cm. Framed: 128 x 105 cm. Full details of the work (click HERE) The Ecce Homo, the subject of this powerful canvas, depicts the Gospel episode in which Jesus, awaiting his sentence and following his scourging, is presented to the crowd by the Roman governor Pontius Pilate, portrayed here at his side wearing an oriental-style turban. The painting captures the moment when the Saviour accepts his final fate: his face reveals not only his humiliation but a moment of profound introspection and emotion. He is then depicted with a crown of thorns placed upon his long hair and stripped of his clothes, his hands bound and crossed, alluding to his imminent crucifixion on Golgotha. ‘’Ecce homo’’, which literally means ‘Behold the Man’, was the phrase uttered by Pilate himself to point to the scourged Jesus and curry favour with the crowd, aware that he had condemned an innocent man. To his right, a soldier in armour observes Jesus with a stern gaze, whilst the head to the left of Christ is believed to be that of Barabbas, the murderer released by Pilate in place of Jesus Christ during the trial prior to the crucifixion. An iconographic curiosity concerns the shiny metal armour worn by the soldier, in the most typical Caravaggesque style, which contrasts with the vulnerability of Christ’s bare and wounded skin. We can easily see that this is 17th-century armour, an anachronism common at the time to make the scene more contemporary and engaging for the viewer of that era. This subject was very widespread in the 16th century, giving rise to particularly intense works capable of moving even those who do not favour subjects of such strong emotional impact. In particular, the work in question draws on the famous ‘Ecce homo’ by Jacopo Ligozzi (Verona 1547 – Florence 1627), a Veronese artist active in Florence at the Medici court, originally held in the collection of Agostino Giusti in Verona. The composition reflects his late-Mannerist style and his almost scientific attention to detail, to the extent that it blends the Veronese tradition with a precision typical of Northern Europe. In our case, this is a very interesting and high-quality work dating from the early 17th century, attributable to a skilled artist from his workshop. The work was in fact reproduced by the artist himself and his workshop in numerous versions, one of which is perhaps the most famous, that in the Alte Pinakothek in Munich (see: https://www.sammlung.pinakothek.de/en/artwork/ZMLJr9VLJv/jacopo-ligozzi/ecce-homo ). The work’s popularity was largely due to the beautiful engraving by Raphael Sadeler, dated 1598, one of which is now in the British Museum (see: https://www.britishmuseum.org/collection/object/P_X-1-109 ). - Image 1 Jacopo Ligozzi (1547–1627) - Ecce homo Bavarian State Painting Collections – Alte Pinakothek - Image 2 Raphael Sadeler I, Ecce Homo (after Jacopo Ligozzi) British Museum, London ADDITIONAL INFORMATION: The artwork is sold complete with an attractive frame and comes with a certificate of authenticity and guarantee. We arrange and organise the transport of purchased artworks, 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 show you our collection of artworks. Please feel free to contact us for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
Pair Of Dancing Satyrs In Bronze, Edouard Drouot (1859 – 1945) In Style

Pair Of Dancing Satyrs In Bronze, Edouard Drouot (1859 – 1945) In Style

Pair of dancing satyrs in bronze Edouard Drouot (Sommevoir 1859 – Paris 1945) in the style of Lost-wax cast bronze Dimensions (maximum dimensions): height 131 cm / depth 60 cm / width 47 cm. Details (click HERE) A pair of bronze sculptures depicting two young mythological figures in motion, identified as satyrs or young Bacchuses playing musical instruments, specifically a flute and a horn. The youths, with their whimsical and joyful appearance, seem to be dancing whilst balancing on a large shell, which in turn rests on a circular base. Both wear loincloths made of laurel leaves or animal skins and wear wreaths of vine leaves, typical elements of the iconography of the faun or follower of Bacchus. These are, in fact, mythological figures associated with the retinue of Dionysus, known for their wild nature. Works of this kind were placed in gardens, often to adorn a fountain, at the base of a flight of steps or at the entrance to a residence. These figures belong to the tradition of late 19th- or early 20th-century bronze sculpture; they bear no marks but faithfully replicate the designs of works from the Édouard Drouot foundry in Sommevoire. A pupil of Émile Thomas and Mathurin Moreau, he enjoyed a brilliant career with works inspired by mythology; a member of the Société des Artistes Français, he received numerous awards and became highly sought-after. At the turn of the 19th and 20th centuries, up until the First World War, Hellenistic and Roman sculptural models represented an inexhaustible source of inspiration, and amongst the creatures that populated this poetic world, the satyrs, with their lascivious nature and playful humour, were certainly the most fascinating and sought-after to adorn the sumptuous gardens across Europe. A pair of sculptures similar to ours were sold at Osenat in Fontainebleau (6 July 2025 – lot 433) PDF Catalogue: https://www.gazette-drouot.com/telechargement/catalogue?venteId=160617 The pair of works, in excellent condition, features a splendid dark patina that perfectly enhances the movement of the sculptures. ADDITIONAL INFORMATION: The sculptures come with a certificate of guarantee and authenticity. 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! Should non-Italian customers purchase the works, an export permit will be required, which takes approximately 15–20 days to process; our gallery will handle the entire process until the permit is obtained. All costs associated with this procedure are included. Please contact us for any further information or to arrange a visit; we’ll be delighted to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Madonna In Glory Surrounded By Angels, Giovanni Balducci (1560 -1631)

Madonna In Glory Surrounded By Angels, Giovanni Balducci (1560 -1631)

Giovanni Balducci, known as Il Cosci (Florence, 1560 – Naples, after 1631) Madonna in Glory Surrounded by Angels Oil on panel (48 x 37 cm. - In frame 68 x 57 cm.) Full details of the work (click HERE) We are offering this splendid painting in our gallery, a work of refined taste and artistic merit, depicting the Virgin of the Immaculate Conception in Glory among the Angels. The stylistic characteristics of the painting point unequivocally to a painter of Tuscan origin working in the second half of the sixteenth century and adhering to the refined stylistic elements of Florentine Mannerism: in particular, we are inclined to attribute the work to Giovanni Balducci, known as Il Cosci (Florence, 1560 – Naples, after 1631). He trained in the workshop of Giovanni Battista Naldini, thereby reflecting the influence of Giorgio Vasari and late Florentine Mannerism; however, as we can infer from the work in question, his style avoids the virtuosic excesses of early Mannerism in favour of greater composure and formal rigour that reflected the religious dictates of the Council of Trent. From 1575 to 1579, he collaborated with Federico Zuccari on the completion of the frescoes of the Last Judgement in Santa Maria del Fiore in Florence. After spending three years in Rome, from 1577 to 1580, where he worked with his master on the decoration of the Altoviti Chapel in the Church of Trinità dei Monti, he returned to Florence, where he took part in the project led by Alessandro Allori for the decoration of the ceilings of the corridors on the top floor of the Uffizi. Upon observing the panel and its details, one is struck by the quality of the execution, which reveals the vibrancy of the colours and a marked figurative precision, so much so that it can certainly be attributed to the hand of the painter, celebrated for his work and characterised by a balanced composition and a narrative vein that combines Florentine elegance with a religious austerity that anticipates the trends of the seventeenth century. The master has placed the triumphant figure of the Virgin at the centre of the composition: statuesque, enveloped in clouds, depicted seated as if on a throne of clouds, her gaze turned towards the heavens. Before her stands a jubilant host of angels and cherubs, as if enveloping her figure and lifting her upwards, whilst two of them hold aloft burning torches, bringing with them a rich symbolism linked to light, spiritual guidance and the passage between heaven and earth, symbolising the accompaniment of the soul or body ascending to heaven. The lunette of light behind him is beautiful, its lower edge marked by the heads of cherubs, a device we also find in the ‘Christ in Glory among the Apostles and Saints’ at the Palmer Museum of Art in Pennsylvania, dating from around 1586, oil on panel. Fig. 1 (upper detail) Giovanni Balducci (1560–1631), Christ in Glory with the Apostles and Saints c. 1586, oil on panel, 60.4 x 43.2 cm, Palmer Museum of Art ADDITIONAL INFORMATION: The work is sold complete with a gilded frame and 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. 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/
Moses Bringing Water From The Rock, 17th-century Roman School

Moses Bringing Water From The Rock, 17th-century Roman School

17th-century Roman school Moses bringing water from the rock (Probably a preparatory sketch) Oil on canvas in grisaille 47 x 67 cm. In an ebonised frame 64 x 85 cm. Provenance : Sotheby's Milan, 12/06/01, lot 165 Estimation : 6 000 000 à 8 000 000 L. (3 000 à 4 000 euros) ** Détails complets (cliquez ICI) Cette toile fascinante, représentant l'épisode de l'Ancien Testament où Moïse fait jaillir l'eau du rocher, suit une structure descriptive qui nous amènerait à supposer qu'il s'agit d'une précieuse esquisse préparatoire, d'une étude pour un retable de plus grandes dimensions ou, plus probablement encore, pour une fresque. Bien qu'il soit difficile d'en identifier l'auteur, nous pouvons toutefois situer son œuvre au sein de la variée école romaine de la seconde moitié du XVIIe ou du début du XVIIIe siècle, dans le sillage du classicisme baroque. Il s'agit d'une œuvre réalisée selon la technique « monochrome » en nuances de gris (également appelée « en grisaille ») qui, en particulier dans la réalisation des esquisses, constituait une étape cruciale de la conception artistique, utilisée pour définir les volumes et la composition d'une œuvre avant d'appliquer la couleur définitive. L'événement représenté symbolise le salut divin et la foi, un thème populaire dans l'art baroque, et raconte l'épisode miraculeux survenu lors de l'exode biblique du peuple juif (chap. 17) : après s'être enfuis d'Égypte où ils étaient réduits en esclavage, les Juifs furent guidés par Moïse vers la Terre Promise, errant dans le désert du Sinaï. Leurs souffrances furent atténuées par l'aide de Dieu, grâce à la manne tombée du ciel, mais un jour, fatigués et assoiffés, se sentant abandonnés par un Dieu dont ils commençaient à douter de l'existence, ils se tournèrent vers Moïse en lui demandant un signe divin. Et voici le miracle du Grand Prophète qui, sur l’ordre de Dieu, frappe le rocher de son bâton, faisant jaillir une cascade d’eau qui, en coulant, parvient à désaltérer tous les présents. Il est magnifique d’observer la manière dont l’auteur a représenté le mouvement frénétique des corps, avec les poses plastiques et la variété des réactions : ceux qui boivent avidement, ceux qui remercient Dieu, ceux qui tendent l’eau aux enfants ou ceux qui en font provision en remplissant des amphores. INFORMATIONS SUPPLÉMENTAIRES : L'œuvre est vendue avec un joli cadre, un certificat d'authenticité et une fiche iconographique descriptive. Nous nous occupons et organisons le transport des œuvres achetées, tant en Italie qu'à l'étranger, par l'intermédiaire de transporteurs professionnels et assurés. Il est également possible de voir le tableau dans la galerie de Riva del Garda ; nous serons ravis de vous accueillir pour vous présenter notre collection d'œuvres. En cas d'achat de l'œuvre par des clients non italiens, il sera nécessaire d'obtenir un permis d'exportation, ce qui prend environ 15 à 20 jours ; notre galerie se chargera de toutes les démarches jusqu'à l'obtention de ce permis. Tous les frais liés à cette opération sont inclus. N'hésitez pas à nous contacter, sans engagement, pour toute information complémentaire. Suivez-nous également sur : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/
The Lute Player, Nicolas Tournier (montbéliard, 1590 – Toulouse, C. 1638)

The Lute Player, Nicolas Tournier (montbéliard, 1590 – Toulouse, C. 1638)

Nicolas Tournier (Montbéliard, 1590 – Toulouse, c. 1638) Workshop/follower The Lute Player Oil on round canvas Diameter 46 cm. Framed, diameter 61 cm. Provenance: Sotheby’s London, Old Master Paintings, 6 July 2000, lot 304 (attributed to a follower of Nicolas Tournier) Estimate: (€6,350 – €9,500), Hammer price: (€7,600) Full details (click HERE) The compositional choice and style of this interesting portrait of a young lute player reveal, at first glance, its marked Caravaggesque influence, both in the strong chiaroscuro – skilfully applied here – and in the incidence of light which, coming from an external source, makes the musician’s solid figure stand out against the monochrome background. The young man is portrayed here in half-length, turned three-quarters of the way, wearing an elegant feathered hat lined with fur, and a shirt with wide sleeves in amaranth red, topped by a waistcoat and a Sienna-coloured cloak. He turns his gaze towards the viewer and seems to be asking for attention to follow his melody, caught in the act during an informal concert or a rehearsal session. The mysterious charm he exudes stems from numerous details in the painting that do not go unnoticed: from the vivid red of his lips, which stand out against the perfect oval of his face, to his dreamy gaze, magically captured in the moment. The musical instrument, positioned diagonally and held with great determination by the musician, stands out in the foreground, reaching out towards the observer so as to break down the barrier between the painted space and real space. All these elements evoke the numerous figures of young musicians that Caravaggio immortalised during his stay in Rome – among the most celebrated are those in the ‘Concerto’ at the Metropolitan Museum of Art in New York – a theme later taken up by numerous Caravaggisti, followers of the master, who reinterpreted its content in the early decades of the 17th century. Analysis of the work, in particular, allows us to attribute its execution to a painter from the small circle of French artists who were followers of Caravaggio in Rome, evoking in particular the models conceived by Nicolas Tournier (Montbéliard, 1590 – Toulouse, c. 1638), an extraordinary artist who, together with Nicolas Régnier, was perhaps the most important of the French Caravaggisti. Tournier lived in Rome from 1619 to 1626, where he developed a pictorial style very similar to that of Bartolomeo Manfredi, a contemporary of Caravaggio and his closest follower. We find this type of subject in many of his compositions, thanks to which the artist gained great fame and success among collectors, making it his speciality, in which the highly realistic rendering of the figures is accompanied by an iconography of great character. Here we cite, for example, the ‘Guitar Player’ in the Uffizi Gallery in Florence (https://catalogo.fondazionezeri.unibo.it/scheda/opera/101055/), and also the ‘Flute Player’ in the Tosio Martinengo Art Gallery in Brescia (https://www.lombardiabeniculturali.it/ opere-arte/schede/D0090-00215/). ADDITIONAL INFORMATION: The images were taken using professional photographic equipment. The painting is sold complete with an attractive gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet. Should the artwork be purchased by a foreign client, an export licence will be required, which takes approximately 10–20 days to process; our gallery will handle the entire process until the licence is obtained. All costs associated with this procedure are included. We arrange and organise the transport of purchased artworks, 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/
Samson And Delilah, Antonio Molinari (venice, 1655–1704) Attributed To

Samson And Delilah, Antonio Molinari (venice, 1655–1704) Attributed To

Antonio Molinari (Venice, 1655–1704) Attributed to Samson and Delilah Oil on canvas 122 x 148 cm. - Framed 135 x 160 cm. Full details of the work (click HERE) The subject of this fine work is recounted in the Bible, specifically in the Book of Judges (16:4–20): it depicts the story of Samson and Delilah, an iconographic theme much beloved during the Baroque period, as it resonated with the era’s taste for the depiction of intense, conflicting, and often fatal passions. The story tells of Samson, one of the judges of the Old Testament, an Israelite hero endowed with prodigious strength granted directly by God; he is known for his struggle against the Philistines to free the people of Israel but, despite himself, also for his tendency to succumb to feminine charms. Fatal for him, in fact, will be the beautiful Delilah, a Philistine girl who makes him fall in love with her and to whom he reveals that the source of his strength lies in his hair, never cut since birth, unwittingly revealing his only weakness to her. In the painting, we see the climactic moment of the story, with the hero of superhuman strength lying asleep and vulnerable on Delilah’s lap; the woman, after seducing him, is about to deprive him of his divine power with a calm and precise gesture, cutting off a lock of his hair. Hidden behind a column, two Philistine soldiers, thanks to the woman’s complicity, are waiting to capture him. Extremely widespread in the history of painting, also due to its sensual and symbolic power, the story represents the temptation that blinds the intellect, and is therefore often used for moralistic purposes, emphasizing how passion can dominate reason and strength. The scene, as in many Baroque depictions of this theme, is set in a highly evocative nocturnal interior where elements such as musical instruments—in this case, a sheet of music—are often included to symbolize the “seduction of the senses” that led to the hero’s downfall. In our opinion, this is a significant work by Antonio Molinari (Venice, 1655–1704), one of the most authoritative figures in Venetian painting at the turn of the 17th and 18th centuries, who here displays his excellent painterly skill. It is, in fact, a refined example of the artist’s talent for interior paintings, where, through a grandiose composition with a moral intent, he stages an episode in which the figures stand out for their sumptuous, theatrical poses, highlighted by the richness of detail and characterized by vibrant colors, expansive forms, and a soft, sensual brushstroke. A key figure in the Venetian art scene between the 17th and 18th centuries, he stands precisely as an artist of transition between Baroque tenebrism—inherited from his master Antonio Zanchi—and the early luminous forms of the Rococo. By way of comparison, we may mention: - “Berenice and Ptolemy III Euergetes,” sold at Sotheby’s, New York (January 9, 1980, no. 199) - fig. 1 - “Nero and Agrippina,” from the Staatliche Gemäldegalerie in Kassel, Germany - fig. 2 - “Sofonisba,” Van Ham Fine Art Auctions, November 19, 2020, Lot 1122 - image 3 - “Queen Ipsicrate, wife of Mithridates” (private collection) - image 4 - “Porcia and Marcus Brutus” (private collection) - image 5 - “The Continence of Scipio” (private collection) - image 6 ADDITIONAL INFORMATION: The work is sold complete with an attractive gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic sheet. We handle and arrange shipping for purchased works, both within Italy and internationally, using 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 contact us, with no obligation, for any additional information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/