Galleria Castelbarco
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
  • Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century
Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century

4900 €


Flemish Mannerist painter Early 17th century Portrait of Hermes Trismegistus (Egyptian alchemist who lived in the 13th century BC) Oil on panel 41 x 33 cm In antique frame 51 x 43 cm The work belongs to a series of three paintings, together with portraits of the alchemists Geber (link) and Morieno Romano (link) The painting depicts an alchemist, an ancient figure who has always been shrouded in fascination and mystery due to his perfect blend of science and esotericism, who sought to achieve omniscience, or the highest level of knowledge in all fields of learning. Among the great goals of alchemy was the search for the elixir of eternal life or the transformation of base metals into gold, a practice that was believed to be achievable through the “philosopher's stone”. The alchemist, with his secret practices and knowledge, is therefore a figure described as straddling the line between scholar and magician, capable of extraordinary transformations, well represented here by a Flemish Mannerist painter active between the 16th and 17th centuries. In our case, it is, in particular, the portrait of Hermes Trismegistus, a legendary figure from the Hellenistic age, sometimes considered a deity (identified by the Greeks with the Egyptian god Thoth) and sometimes a man, considered the founder of alchemy and the master of all occult sciences, as well as of the philosophical current known as Hermeticism. Venerated as a master of wisdom, he is believed to be the author of the “Corpus Hermeticum”, a collection of writings, mainly in Greek, containing philosophical, theological and magical teachings, considered to originate from ancient wisdom. The alchemist holds an unrolled parchment in his hand, on which we can read the phrase “quod est superius est sicut quod inferius et quod inferius est sicut quod est superius”, taken from the Emerald Tablet, a short text that inspired alchemists and, according to popular legend, was written by Hermes Trismegistus himself. His figure is juxtaposed here with the phoenix, the legendary bird that in ancient mythology is reborn from fire and is therefore associated with immortality, the ability to overcome death and be reborn. Alchemy seeks to transform common substances into gold through a process that can be seen as a metamorphosis similar to the phoenix renewing itself from fire. The subject is inspired by the frontispiece of the alchemical treatise “Basilica chymica” (1608) by Oswald Croll (Wetter, 1560 – Prague, 1609), a German alchemist and physician to Emperor Rudolf II, which depicts the most famous alchemists in history and arcane formulas inserted into geometric symbols. https://pt.m.wikipedia.org/wiki/Ficheiro:Hermes_Trismegistus_illustration_Wellcome_L0016507.jpg Detail of the cover of the alchemical treatise “Basilica chymica” (1608) written by Oswald Croll (Wetter, 1560 - Prague, 1609) ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Request for more information
See more items of this dealer
Print
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
Alexander Van Adriaenssen (antwerp, 1587 - 1661), Still Life With Oysters

Alexander Van Adriaenssen (antwerp, 1587 - 1661), Still Life With Oysters

Alexander (Van) Adriaenssen (Antwerp, 1587 - 1661) Still life with oysters, fish and lobsters Oil on canvas (67 x 110 cm - In frame 87 x 131 cm) Expertise by Prof Massimo Pirondini (Reggio Emilia) Full details of the work (click HERE) Oysters, various types of fish and two lobsters are arranged on a smooth stone surface. In the background, there is a copper pot, a large wicker basket and barrels for brine (one with the letters B V, legible upside down). The distinctive characteristics of the painting reveal it to be the product of the particular historical and cultural environment that emerged in the Netherlands between the late 16th and early 17th centuries, when the genre of “still life” achieved extraordinary importance as the absolute protagonist, rather than a marginal accessory, of works of art. Dutch still life, whether of flowers, fruit, game, tableware or everyday objects, tended to focus on simple, domestic themes, almost as if to represent the deep love of its people for the reality of the humble, everyday things in life. This was in contrast to the Flemish style, which, on the contrary, became increasingly theatrical, pompous and “plénitude débordante”. The “Still Life with Oysters, Fish and Lobsters” considered here fully reflects the Dutch inclination, with its sober figuration and essential composition. In particular, if we analyse the orderly spatial arrangement of the objects, we can easily attribute the painting to Alexander von Adriassen (Antwerp, 1587 - 1661), whose catalogue shows clear stylistic similarities with our painting. His favourite subjects and recurring themes were fish, shellfish, oysters and, sometimes, game or vegetables placed on simple kitchen tables. Although he remained in Flemish Antwerp, not far from the Dutch border, he was undoubtedly influenced by it in his choice of content and compositional frugality. In his compositions, he carefully arranged individual objects to create a sense of balance and harmony in the painting, and his use of “empty space” is also remarkable, calibrated to highlight and give importance to what he was depicting. This work of art is a perfect example of the artist's ability to capture the authenticity of everyday food in a natural way: it looks like a photograph of a table in a 17th-century Dutch middle-class home, depicted without too many frills. Born in Antwerp in 1587, Alexander was already registered in 1610 as a master specialising in still life at the Guild of Saint Luke in his city, earning the admiration of Rubens, who had several of his works in his collection, and Anthony van Dyck, with whom he was also friends and collaborated. His works can be found in numerous European museums, including the Nationalmuseum in Stockholm, the Rijsmuseum in Amsterdam, the Koninklijk Museum in Antwerp and the Prado in Madrid. The latter, in particular, houses a beautiful series from the Spanish royal collections, including a “Still Life with Fish, Oysters and a Cat”. (1) (1) https://www.museodelprado.es/en/the-collection/art-work/still-life-of-fish-and-oysters-with-a-cat/d2... Finally, as regards the letters V B on the barrel in the background, it is unlikely that they are the artist's initials, but more likely a mark originally engraved on the container, reproduced with the letters reversed by the artist as he saw them when painting from life, as was often the case, with the aid of a mirror. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant antique frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Redemption Of Adam And Eve, Jacob De Backer (antwerp, C. 1555 – 1585)

The Redemption Of Adam And Eve, Jacob De Backer (antwerp, C. 1555 – 1585)

Jacob de Backer (Antwerp, c. 1555 – Antwerp, c. 1585) The Redemption of Adam and Eve after their Expulsion from Eden Oil on oak panel (106 x 76 cm - In frame 126 x 96 cm) FULL DETAILS (click HERE) The earthly paradise, known as the Garden of Eden, was a place of perfection and happiness where all kinds of delights grew; Adam and Eve were free to eat all the fruits that nature offered them, with the only restriction being that they could not eat from the tree of the knowledge of good and evil. However, Eve, tempted by the serpent (Genesis 3:1-5), disobeyed God's command, ate the apple from that tree and then persuaded Adam to do the same. The work we are offering shows the consequences of this disobedience, with the expulsion from Paradise and the transmission of original sin to all humanity. An extremely rare and fascinating theme, Adam and Eve are shown here chained and bound by the angel, symbolising their spiritual death: this iconography plays a key role in Christian theology, reminding us of the consequences of sin and the consequent need for redemption. Redemption is in fact the key theme of the painting: the great winged angel, majestic, is ready to save the two sinners, granting them the chance of redemption and of regaining God's grace. The painting is attributed to Jacob de Backer (Antwerp 1555–1585), a Flemish painter active in the second half of the 16th century and one of the most important Mannerist masters in Antwerp, occupying a prominent position between the generation of Frans Floris, from whom he was strongly influenced, and that of Rubens. The painting, clearly the result of a Northern European aesthetic, also demonstrates a significant awareness of Italian art, in particular the influence of late Florentine and Roman Mannerism, as can be seen in the works of Bronzino, Vasari and Salviati. This aesthetic was also very much in tune with the prevailing taste at the Prague court of Holy Roman Emperor Rudolf II, and indeed the inventory of the emperor's estate, drawn up after his death in 1612, lists four works by de Backer. Many of his compositions, although religious in theme, deal with complex allegorical subjects, which was interpreted as evidence that the artist had received a humanistic education and that his patrons came from the educated class of Antwerp. This work, in particular, is based on a now lost painting by Marte de Vos, of which an engraving has survived, entitled ‘Allegory of Redemption’ (fig. 1, https://wellcomecollection.org/works/pe52fbag). A painting taken from the original work is now in the Bayerische Staatsgemäldesammlungen (image 2: https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/168240/). Returning to our work, art historian Justus Müller Hofstede suggested in 1973 that the painting was derived from a cycle of five allegorical works painted by De Backer depicting scenes from the life of Jesus (see: Justus Müller Hofstede, Jacques de Backer. Ein Vertreter der Florentinish-Römischen Maniera in Antwerpen), which appeared in various European sales in recent years. Alongside the composition offered here, we can therefore mention as counterparts the pair of works ‘Nativity’ and ‘Crucifixion’ (image 3 Lempertz Cologne, 14.11.2015, lot 1427: https://www.lempertz. com/en/catalogues/lot/1057-1/1427-jacob-de-backer.html?utm_source=mutualart&... ), and another ‘Adoration of the Shepherds’ (image 4 Vienna Palais Dorotheum, 25.10.2023, lot 31: https://www.dorotheum.com/en/l/8751569/?utm_source=mutualart&utm_medium=referral ). The painting is in good condition with some scratches on the panels. ADDITIONAL INFORMATION: The painting is sold complete with a nice frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Seascape With Ships, Julius Porcellis (rotterdam 1610 – 1645 Leiden) Attrib

Seascape With Ships, Julius Porcellis (rotterdam 1610 – 1645 Leiden) Attrib

Julius Porcellis (Rotterdam 1610 – 1645 Leiden) attributable Seascape with ships Oil on wood panel (oak) 52 x 84 cm In gilded wood frame 77 x 108 cm Full details of the painting (click HERE) The painting on display depicts an evocative seascape in stormy weather: the rough sea crashes against a rocky cliff while several boats, including a small fishing boat near the shore and a merchant ship offshore, try to continue on their course despite the weather conditions. A typical subject of Baroque painting, the fury of the sea was a very popular theme, especially in 17th-century Dutch art, capable of representing the power of nature in a dynamic, exciting and dramatic way. The resistance of the ships against the waves, where we can imagine the crew struggling to maintain control, was intended as a metaphor for life, indicating a close but vulnerable interrelationship with the forces of nature, often in contrast with the fragility of man. The work's painting style and composition clearly reference the hand of Julius Porcellis (Rotterdam 1610 – Leiden 1645), a painter of the Dutch Golden Age specialising in seascapes and son of Jan Porcellis (1584–1632), from whom he was trained and under whose influence he remained throughout his life. Even during the 17th and 18th centuries, art connoisseurs found it difficult to distinguish between the work of the father and that of the son. As can be seen in many of his seascapes, Porcellis depicted the stormy sea breaking against a high rock formation. The three-masted ship in the distance, known as a pinnacle, with its sails lowered to protect it from the stormy winds, is also one of his signature features. Our work can be compared, for example, to the painting ‘Fishing Boat in Rough Sea’, kept at the National Maritime Museum in Greenwich (1). It can also be compared to ‘Expedition in Rough Sea’ at Kingston Lacy Estate in Dorset (2), or to a work kept at the Lakenhal Museum in Leiden (3). Julius Porcellis' paintings are relatively rare, especially on the antiques market. We can mention the work “Ships in Distress off a Rocky Coast”, which was sold at Christie's on 8 December 2023 (4). (1) https://www.rmg.co.uk/collections/objects/rmgc-object-12209 (2) https://www.nationaltrustcollections.org.uk/object/1257056 (3) https://www.lakenhal.nl/nl/collectie/b-1134 (4) https://www.christies.com/lot/lot-6458331?utm_source=mutualart&utm_medium=referral Our view is typical of the master, with his classic compositional style that made him highly regarded at home and abroad, promoting a new style and subject in marine painting by focusing on cloudy skies and rough waters. Porcellis' contribution to Dutch art also lies in his emphasis on the effects of light: the composition is enveloped in a strong luminosity, with a cloud-filled sky from which flashes of light spread out, reverberating on the water and illuminating the foaming waves, highlighting the three-dimensionality of the painting. ADDITIONAL INFORMATION: The painting is sold complete with a nice frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Christian Reder (leipzig 1656 - Rome 1729), Landscape With Boar Hunting

Christian Reder (leipzig 1656 - Rome 1729), Landscape With Boar Hunting

Christian Reder (Leipzig 1656 - Rome 1729) Landscape with boar hunting Oil on canvas 66 x 132 cm In frame 76 x 143 cm We present this delightful work, of which the matching piece is also available (link), depicting a vigorous boar hunt and attributed to Christian Reder (Leipzig 1656 - Rome 1729), an artist of Nordic origin but known in Italy as Monsù Leandro. Although he is known among collectors as a painter specialising in battles, his output includes numerous landscapes and typical genre scenes such as ours, especially those relating to his early stay in Veneto. After an apprenticeship in Hamburg, he first went to London, then moved permanently to Italy, first to Venice and finally to Rome, where he spent the rest of his life, following the advice of his friend Peter van Bloemen, known as ‘lo Stendardo’. The composition of the work is centred on the movement of a group of hunters who, armed with swords and spears and with the help of hunting dogs, have surrounded the wild boars to deliver the coup de grâce. For comparison, we can compare our painting with the two scenes in the Civic Museum Collection of Castelfranco, which could represent a trace of the artist's stay in Veneto. Like the canvas we are offering, they are of particular interest for their surprising chromatic similarities, especially in the delicate shades of the background, and stylistic similarities in the rendering of the figures in a bambocciante style, reminiscent of Luca Carlevarijs. URL: https://www.artericerca.com/lettura_opere/Lettura%20opera%20-%20Christian%20Reder,%20Viaggio%20di%20... Paintings of this size and subject matter, often produced in series, were commissioned for display in palaces or country villas. The shape and size suggest that the canvases were originally placed as overdoor paintings or created to embellish part of a boiserie. ADDITIONAL INFORMATION: The painting is sold complete with a gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Christian Reder (leipzig 1656 - Rome 1729), Landscape With Pastoral Idyll

Christian Reder (leipzig 1656 - Rome 1729), Landscape With Pastoral Idyll

Christian Reder (Leipzig 1656 - Rome 1729) Landscape with pastoral idyll Oil on canvas 66 x 132 cm Framed 76 x 143 cm We present this delightful work, of which the matching piece is also available (link), depicting a landscape enveloped in a pastoral and Arcadian atmosphere, attributed to Christian Reder (Leipzig 1656 - Rome 1729), an artist of Nordic origin but known in Italy as Monsù Leandro. Although he is known among collectors as a painter specialising in battles, his output includes numerous landscapes and typical genre scenes such as ours, especially those relating to his early stay in Veneto and commissioned works. After an apprenticeship in Hamburg, he first went to London, then moved permanently to Italy, first to Venice and finally to Rome, where he spent the rest of his life with considerable success, following the advice of his friend Peter van Bloemen, known as ‘lo Stendardo’, who had stayed in Rome from 1685 to 1694. The influence of Borgognone, the greatest interpreter and innovator of the Baroque genre of war painting, is also evident in his works. The composition of the work is centred on a group of shepherds on horseback and on foot tending their flocks. The scene is rendered affected by the theatricality of a shepherd on horseback playing a musical instrument similar to a mandolin to entertain his companions. For comparison, we can compare our painting with the two scenes in the Civica Collezione Museale di Castelfranco, which could represent a trace of the artist's stay in Veneto. Like the canvas we are proposing, they are of particular interest for their surprising chromatic similarities, especially in the delicate tones of the second planes, and stylistic similarities in the rendering of the figures in a bambocciante style, reminiscent of Luca Carlevarijs. URL: https://www.artericerca.com/lettura_opere/Lettura%20opera%20-%20Christian%20Reder,%20Viaggio%20di%20... Paintings of this size and subject matter, often produced in series, were commissioned for display in palaces or country villas. The shape and size suggest that the canvases were originally placed above a door or created to embellish part of a boiserie. ADDITIONAL INFORMATION: The painting is sold complete with a gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Aeneas And Dido, Attributed To Pseudo-caroselli (rome, Active C. 1630/1650)

Aeneas And Dido, Attributed To Pseudo-caroselli (rome, Active C. 1630/1650)

Aeneas and Dido Attributed to Pseudo-Caroselli (Rome, active c. 1630/1650) Oil on canvas 148 × 93 cm. framed 162 × 107 cm. Full details (go to link) The episode depicted in the superb canvas illustrates the beautiful Dido, queen of Carthage, in the moment of supplication towards her beloved Aeneas, who has now decided to abandon her. According to the Virgilian narration in the 4th book of the Aeneid, Dido fell madly in love with the Trojan hero Aeneas, son of Anchises and Venus, when he landed in Carthage due to a storm caused by Juno before arriving in Latium. Everything seems to be heading for the most classic of happy endings, until Jupiter arrives implacably, and through Mercury, calls Aeneas back to duty, ordering him to leave again and reach Latium, where he will give rise to the race that will found the city of Rome. Thanks to a highly theatrical staging with a clear Baroque imprint, we are confronted with an enthralling painting that illustrates a crucial moment in this passionate love story, which, after touching the heights of overwhelming passion, sees the drama of a woman in love follow. Dido, famous for her beauty and sensuality, is here immortalised in the moment of pleading to her beloved, desperate for her imminent departure, although already aware of the fate that awaits her; she is intent on playing a lute in a last vain attempt to hold him back. Aeneas seems to be listening to the melody intoned in his honour, with a faltering expression, despite Mercury playing a transverse flute, as if to distract him from the queen's music. His sadness is contrasted, however, by the diligence of the Trojans, whom we see feasting in the background, happy to resume their journey, as they evidently disapprove of the love between the two and the consequent prolongation of the pause. The author thus seizes the pretext of the epic tale to depict a theme dear to seventeenth-century painting and extremely appreciated by collectors of this period, that dedicated to the universe of music; The canvas that is the subject of this study, from which the strong suggestions to Caravaggism are immediately evident, can be attributed to the so-called 'Pseudo-Caroselli', a mysterious 'genre painter', perhaps of Nordic origin but whose identity is unknown, close to the manner of the master Angelo Caroselli (Rome 1585-1652), with whom he has often been confused. He was certainly an artist who had frequented the workshop of the Roman master, most probably one of his pupils. The hypothesis that the Pseudo-Caroselli is a northern European artist, perhaps belonging to the populous colony of Flemish painters who stayed permanently in Rome in the 17th century, is quite widely accepted, but it cannot be ruled out (according to some authors) that it could be Angelo's son, Carlo Caroselli. The painting clearly stands out as a milestone in the work of this mysterious author, both in terms of quality and the presence of full-length characters, demonstrating here his histrionic and theatrical skill and refined technique. Often the characters that appear in these paintings have grotesque poses and caricatured features, and there is usually a marked sensual allusion. ADDITIONAL INFORMATION: The painting is completed by a wooden frame and is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Contact us for any information, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Toilet Of Venus, Francesco Albani (bologna 1578 - 1660) Follower Of

Toilet Of Venus, Francesco Albani (bologna 1578 - 1660) Follower Of

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. Full details of the work (click HERE) The painting on offer, depicting ‘Venus’ Toilet', can be attributed to a master active between the 17th and 18th centuries, trained in the stylistic and compositional examples of the Bolognese artist Francesco Albani (Bologna 1578 - 1660). A disciple of Annibale Carracci, Albani contributed significantly to the spread of Bolognese classicism, providing an interpretation that, in the latter part of his career, sounded more idyllic and pleasing to the more intimate tastes of his clients. It is for this reason that the most intense and productive aspect of Albani's workshop can be seen in mythological paintings such as the one presented here, rather than in those with religious themes. The composition in question, in particular, draws inspiration from the painting commissioned in 1621 by Ferdinando Gonzaga, sixth Duke of Mantua, for his residence ‘Villa Favorita’; after the nobleman's death, the work was sold to the Medici family of Florence in 1633, before passing into the collections of the Louvre Museum in Paris, where it remains today (https://collections.louvre.fr/ark:/53355/cl010062295). [1] The Mantua canvas belongs to a cycle of four works depicting episodes from the life of Venus, here immortalised as she sits on the banks of a lake in front of a marvellous palace and makes herself beautiful to seduce Adonis. Other works of reference are the series of the four seasons created for Prince Borghese a few years earlier (see Spring: https://www.collezionegalleriaborghese. it/opere/toletta-di-venere-la-primavera): here too, the underlying theme of the works revolved around the loves of the gods, and in particular the rivalry between the two goddesses Diana and Venus, a conflict that reflects the struggle between the virtue of chastity and the vice of sensual love: this subject was hugely popular with collectors of the time. Seventeenth-century classicism proposed idealised, ethereal and idyllic works of art, inspired by the great masters of the Renaissance such as Raphael and Titian, often dealing with themes from ancient history and classical mythology. In our painting, we can admire the beautiful Venus gazing at herself, sitting half-naked on her throne flanked by the three Graces. Finally, the scene, set in a lush garden enriched by gushing fountains with classical sculptures and architecture, is dotted with a myriad of winged Cupids and playful cherubs who animate the scene in a disorderly manner, playing with the fruits of the earth, heralding the awakening of nature and the arrival of spring. [1] Francesco Albani (Bologna, 1578 - 1660), La Toilette de Vénus (oil on canvas, 2 x 2.5 m.) Musée du Louvre (museum URL https://collections.louvre.fr/ark:/53355/cl010062295) ADDITIONAL INFORMATION: The painting is sold complete with a pleasant 19th-century gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century

Portrait Of The Alchemist Hermes, Flemish Mannerist Painter 17th Century

Flemish Mannerist painter Early 17th century Portrait of Hermes Trismegistus (Egyptian alchemist who lived in the 13th century BC) Oil on panel 41 x 33 cm In antique frame 51 x 43 cm The work belongs to a series of three paintings, together with portraits of the alchemists Geber (link) and Morieno Romano (link) The painting depicts an alchemist, an ancient figure who has always been shrouded in fascination and mystery due to his perfect blend of science and esotericism, who sought to achieve omniscience, or the highest level of knowledge in all fields of learning. Among the great goals of alchemy was the search for the elixir of eternal life or the transformation of base metals into gold, a practice that was believed to be achievable through the “philosopher's stone”. The alchemist, with his secret practices and knowledge, is therefore a figure described as straddling the line between scholar and magician, capable of extraordinary transformations, well represented here by a Flemish Mannerist painter active between the 16th and 17th centuries. In our case, it is, in particular, the portrait of Hermes Trismegistus, a legendary figure from the Hellenistic age, sometimes considered a deity (identified by the Greeks with the Egyptian god Thoth) and sometimes a man, considered the founder of alchemy and the master of all occult sciences, as well as of the philosophical current known as Hermeticism. Venerated as a master of wisdom, he is believed to be the author of the “Corpus Hermeticum”, a collection of writings, mainly in Greek, containing philosophical, theological and magical teachings, considered to originate from ancient wisdom. The alchemist holds an unrolled parchment in his hand, on which we can read the phrase “quod est superius est sicut quod inferius et quod inferius est sicut quod est superius”, taken from the Emerald Tablet, a short text that inspired alchemists and, according to popular legend, was written by Hermes Trismegistus himself. His figure is juxtaposed here with the phoenix, the legendary bird that in ancient mythology is reborn from fire and is therefore associated with immortality, the ability to overcome death and be reborn. Alchemy seeks to transform common substances into gold through a process that can be seen as a metamorphosis similar to the phoenix renewing itself from fire. The subject is inspired by the frontispiece of the alchemical treatise “Basilica chymica” (1608) by Oswald Croll (Wetter, 1560 – Prague, 1609), a German alchemist and physician to Emperor Rudolf II, which depicts the most famous alchemists in history and arcane formulas inserted into geometric symbols. https://pt.m.wikipedia.org/wiki/Ficheiro:Hermes_Trismegistus_illustration_Wellcome_L0016507.jpg Detail of the cover of the alchemical treatise “Basilica chymica” (1608) written by Oswald Croll (Wetter, 1560 - Prague, 1609) ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of The Alchemist Geber, Flemish Mannerist Painter 17th Century

Portrait Of The Alchemist Geber, Flemish Mannerist Painter 17th Century

Flemish Mannerist painter Early 17th century Portrait of the alchemist Geber (Arab alchemist who lived in the 8th century) Oil on panel 41 x 33 cm In antique frame 51 x 43 cm The work belongs to a series of three paintings, together with portraits of the alchemists Hermes Trismegistus (link) and Morieno Romano (link). The painting depicts an alchemist, an ancient figure who has always been shrouded in fascination and mystery due to his perfect blend of science and esotericism, who sought to achieve omniscience, or the highest level of knowledge in all fields of learning. Among the great goals of alchemy was the search for the elixir of eternal life or the transformation of base metals into gold, a practice that was believed to be achievable through the “philosopher's stone”. The alchemist, with his secret practices and knowledge, is therefore a figure described as straddling the line between scholar and magician, capable of extraordinary transformations, well represented here by a Mannerist painter, presumably Flemish, active between the 16th and 17th centuries. In our case, it is, in particular, the portrait of Geber (Jabir ibn Hayyan), born in 722 AD, a legendary figure known as the greatest medieval Islamic alchemist and considered the founder of Persian alchemy and modern chemistry, who was credited with transforming it from a practice linked to magic to an empirical one, very similar to modern chemistry. His figure is juxtaposed here with the white swan, majestic and serene, a symbolic animal in alchemy, as alchemists found in the animal's whiteness and shape both sunlight, synonymous with masculine nature, and moonlight, an image of femininity. The interaction between the alchemist and the swan is a powerful symbol of balance and harmony between science and nature, while the parchment represents the relentless search for truth and wisdom, a journey that winds through the mysteries of the universe. The subject is inspired by the frontispiece of the alchemical treatise “Basilica chymica” (1608) by Oswald Croll (Wetter, 1560 – Prague, 1609), a German alchemist and physician to Emperor Rudolf II, which depicts the most famous alchemists in history and arcane formulas inserted into geometric symbols. Detail of the cover of the alchemical treatise “Basilica chymica” (1608) written by Oswald Croll (Wetter, 1560 – Prague, 1609) https://pt.m.wikipedia.org/wiki/Ficheiro:Hermes_Trismegistus_illustration_Wellcome_L0016507.jpg ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of The Alchemist Morieno Romano, Flemish Mannerism Early 17th Cent

Portrait Of The Alchemist Morieno Romano, Flemish Mannerism Early 17th Cent

Flemish Mannerism, early 17th century Portrait of the alchemist Morieno Romano (Christian alchemist who lived in the 7th century) Oil on panel 41 x 33 cm - In antique frame 51 x 43 cm The work belongs to a series of three paintings, together with portraits of the alchemists Hermes Trismegistus (link) and Geber (link) The painting depicts an alchemist, an ancient figure who has always been shrouded in fascination and mystery due to his perfect blend of science and esotericism, who sought to achieve omniscience, or the highest level of knowledge in all fields of learning. Among the great goals of alchemy was the search for the elixir of eternal life or the transformation of base metals into gold, a practice that was believed to be achievable through the “philosopher's stone”. The alchemist, with his secret practices and knowledge, is therefore a figure described as straddling the line between scholar and magician, capable of extraordinary transformations, well represented here by a Mannerist painter, presumably Flemish, active between the 16th and 17th centuries. In our case, it is, in particular, the portrait of Morieno Romano, one of the great alchemists of history, a legendary Christian hermit who lived at the end of the 7th century, presumably in the mountains near Jerusalem, considered the heir to the knowledge of Hermes Trismegistus. His alchemical treatise entitled “Liber de Compositione Alchimiae”, containing a dialogue between Morieno and the Arab prince Khalid Ibn Yazid, was printed in Paris in 1559 under the title “De Transfiguratione Metallorum”. This text marks the beginning of Western studies on alchemy, which was previously largely unknown in Central Europe. Legend has it that Morieno stole the secret of the Philosopher's Stone from Prince Khalid, probably a fictional story to demonstrate the superiority of Christian scholars over Muslim scholars in the field of alchemy. The alchemist, dressed in a dark tunic and a long beard, holds a rolled-up parchment in his hand, symbolising his relentless search for truth and wisdom, a journey that winds through the mysteries of the universe, on which we can only imagine alchemical symbols and secret formulas are written. He is depicted as a mature man with an intense, focused gaze, as if he were deciphering an ancient mystery. ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Still Life With Carpet, Basket Of Grapes And Figs, Antonio Gianlisi II

Still Life With Carpet, Basket Of Grapes And Figs, Antonio Gianlisi II

Antonio Gianlisi II, known as Il Cremonese (Rizzolo San Giorgio, 1677 - Cremona, 1727) Still life with carpet, basket of grapes and figs Oil on canvas 63 x 75 cm - Framed 80 x 95 cm. Good condition, old restoration, 19th-century frame Complete details of the painting (click HERE) The painting depicts a composition of fruit including a rich selection of white and black grapes contained in a perforated wicker basket and a stand overflowing with succulent purple figs, all arranged on a precious finely embroidered brocade tapestry. At first glance, it is easy to attribute the painting to Antonio Gianlisi (Rizzolo di San Giorgio, 1677 – Cremona, 1727), whose works perfectly embody the tradition of Baroque still life painting in Northern Italy, and in particular the Bergamo school. The vocabulary deployed by the Cremonese artist in his paintings and his highly personal representation of objects make Gianlisi's works, such as the one presented here, truly unmistakable. We see the artist's usual characteristics, such as the intimacy of the interiors enclosed by sumptuous curtains trimmed with golden fringes, which in the work in question appear grouped on the left of the canvas, as shown by the cord decorated with a hanging tassel on the right. The same fringe (Gianlisi's signature) borders the carpet covering the table in the centre of the scene, whose precious silk fabric with floral embroidery illuminates the composition with its glints. The reference to the artist's work is evidenced not only by the usual iconographic repertoire, but also by the composition and arrangement of the carpet, modelled with seemingly disordered folds, so as to alternate light and shadow, giving depth to the composition. After an apprenticeship with his father, Antonio Gianlisi continued his studies with more renowned artists: first in Piacenza with Felice Boselli, then in Bergamo in the circle of Evaristo Baschenis and Bonaventura Bettera. It should also be noted that he spent a longer period in Venice and travelled to Switzerland, living the last eighteen years of his life in Cremona. The attribution is fully supported by comparing the canvas on offer with other works by the master, such as the two paintings, also en pendant, kept at the Ponzone Civic Museum in Cremona (https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300078019), and the pair of works 'Still Life with Carpet, Basket of Grapes and Fig Tree' and “Still Life with Carpet, Basket of Grapes and Cake Stand” from a private collection in Geneva (https://catalogo.fondazionezeri.unibo.it/scheda/opera/88298/) [1]. [1] Antonio Gianlisi II, known as Il Cremonese Still Life with Carpet, Basket of Grapes and Fig Tree/Still Life with Carpet, Basket of Grapes and Pastries Private collection, Geneva We can also draw on the antiques market for some works to facilitate comparison, such as “Still Life with Grapes in a Basket with Sweets on a Tray on a Drape-covered Table” (Bonhams, London, 9.6.2003, https://www.invaluable.com/auction-lot/antonio-gianlisi-the-younger-rizzolo-di-san-giorg-47-c-k07jdf...), “Still Life with Silver Plate of Strawberries” (Sotheby's Prigi, 12.09.2018, https://www.invaluable.com/auction-lot/antonio-gianlisi-a-silver-platter-of-wild-strawbe-23-c-5cc448.... ADDITIONAL INFORMATION: The painting is sold complete with a pleasant golden frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you! Please contact us for any information or to arrange a visit, we will be happy to assist you. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Portrait Of A Gentleman In Armour, Hyacinthe Rigaud (perpignan 1659 - 1743)

Portrait Of A Gentleman In Armour, Hyacinthe Rigaud (perpignan 1659 - 1743)

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) School of Portrait of a gentleman in armour: Joseph Jean Raymond de Lasbordes, Officer of the “Régiment des Landes” (infantry regiment of the Kingdom of France created in 1693), as well as Knight of the Royal and Military Order of Saint Louis Place and date of execution: Huningue (Alsace, France) 1723 Oil on canvas 70 x 58 cm - In a fine period frame 91 x 77 cm FULL DETAILS OF THE PAINTING (click HERE) The painting, depicting a gentleman in armour, is attributed to an early 18th-century painter from the school of Hyacinthe Rigaud (Perpignan 1659 - Paris 1743), one of the most significant portraitists of his time and a great exponent of the French school. The portrait, identified as the French gentleman and military officer Joseph Jean Raymond de Lasbordes, displays with ostentatious pride his military honour as a member and knight of the French Order of Saint Louis, as evidenced by the pin he wears on his chest. The Order of Saint Louis (full name: Ordre Royal et Militaire de Saint-Louis) was a French military order founded on 5 April 1693 by Louis XIV and named after Saint Louis (Louis IX). It was reserved as a reward for deserving officers and is known for being the first decoration also awarded to non-nobles and considered the ancestor of the Legion of Honour. It is a work of remarkable formal and aesthetic elegance. Note the meticulous rendering of the facial features, the sharpness of the contours emphasised by the light and the expressive power of the eyes. The face is characterised by chiaroscuro passages that realistically reproduce light and its effects, rendered with great skill. The image displays the typical characteristics of French celebratory portraiture, with a formula often used by Hyacinthe Rigaud and his studio for portraits of members of the French aristocracy, presented in half-length profile. ADDITIONAL INFORMATION: The work is sold complete with a gilded frame and comes with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to view the painting in our gallery in Riva del Garda, where we will be delighted to welcome you and show you our collection of works. Please contact us, without obligation, for any further information. Follow us on: INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/