Antichita Castelbarco Landscape Paintings

Pandolfo Reschi known as Monsù Pandolfo (Danzica 1643 - Florence 1699), attributable Coastal landscape with fortified city, castle with tower, and battle scene oil painting on canvas Measurements: canvas 90 x 120, with frame 104 x 134 This expansive coastal landscape, with a fortress-city overlooking the sea and a small castle with a watchtower, serves as the stage for an eventful battle scene between soldiers and, presumably, a band of brigands. It is an illustrative typology attributable to Pandolfo Reschi (Danzica 1643 - Florence 1696), known for his works in which he perfectly combines the airy landscape of Tuscan-Roman matrix with images of knights in battle or brigands intent on their raids. Pandolfo Reschi was born in Gdansk but from an early age he moved to Rome where he began his brilliant career following the style of Salvator Rosa, even if his real teacher was the Flemish-Italianized Livio Mehus. With Mehus and Rosa he refined his skills as a battle painter and was later taken to the workshop by the Borgognone, even if his main occupation was that of a genre painter. The decisive turning point in his career came after his transfer to Florence, around the middle of 1660, where he continued his studies with Livio Mehus. After a decade he was now an established and highly coveted painter, so much so that in 1670 he was hired by the Medici court as protege of Cardinal Francesco Maria de Medici...

We present this pair of fascinating coastal views, the fruit of the author's imagination, executed with an elegant descriptive taste and conceived with the scenographic sensitivity typical of the Flemish landscape tradition of the late seventeenth century. The canvases, in particular, fully reflect the pictorial style of the Flemish Peter van den Velde the Elder (Antwerp 1634-1707), a famous painter specialized in marine views with port cities and fortresses. Pair of paintings with fancy coastal views Circle of Peter Van de Velde the Elder (Antwerp 1634 -1714) Oil on canvas, cm. 43 x 64 With framens cm. 70 x 89 They respectively represent a port city and a fortress perched overlooking the sea, both animated small characters, which at first sight evoke the coasts of the Mediterranean, even if the mixes with Northern European elements are inevitable, including a small mill...

Antonio Joli (Modena, 1700 – Naples, 1777) Pair of views of Rome 1. View of Rome with Trajan's Column and the Church of the Holy Name of Mary 2. View of Rome (Piazza Colonna) ...

Antonio Calza (Verona, 1653 – Verona 1725) Battle between Christian and Turkish cavalry Oil on canvas 47 x 85 cm In frame 66 x 105 cm Here we see a fierce battle between Ch...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) Workshop Putti fighting on the Ponte dei Pugni in Venice Venetian school, late 16th century Oil on canvas 105 x 144 cm -...

Roman school of the 17th/18th century The nymph Daphne with Cupid Oil on canvas 49 x 57 cm Framed 69 x 75 cm This extremely pleasing and decorative painting depicts a nymph ...

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) Th...

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 The painting on display d...

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 ...

Jacob de Heush (Utrecht 1657 – Amsterdam 1701) Coastal landscape with architectural ruins Oil on canvas (80 x 102 cm - In frame 100 x 119 cm) Provenance: Hampel Munich, 22.09.2...

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 matchin...

Aeneas and Dido Attributed to Pseudo-Caroselli (Rome, active c. 1630/1650) Oil on canvas 148 × 93 cm. framed 162 × 107 cm. The episode depicted in the superb canvas illustra...

Giovanni Gerolamo Savoldo (Brescia, c. 1480 – after 1548) Follower of Toby and the Angel Oil on canvas 63 x 76 cm - In frame 77 x 90 cm We are pleased to offer this valuable ...

Ilario Mercanti, known as ‘lo Spolverini’ (Parma, 1657 - 1734) Scene of a night-time naval battle oil on copper (oval) 59 x 74 cm - with frame 83...

Théobald Michou (Tournai, 1676 – Antwerp, 1765) River landscape with village Oil on canvas 62 x 98 Framed 74 x 110 cm We present this vast and harmonious composition, where ...

French painter of the late 18th-early 19th century Leda and the Swan (Literary source: Metamorphoses by Ovid, Book VI) Oil on canvas 95 x 126 cm Framed 109 x 142 cm This c...

Marco Ricci (Belluno 1676 – Venice 1730) Circle of Pair of Arcadian landscapes with figures Oil on canvas 56 x 72 cm. - Framed 77 x 93 cm. This pair of charming landscapes, ex...

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century ...

Flemish painter 17th-18th century Construction of the Tower of Babel Oil on canvas 51 x 64 cm Framed 66 x 78 cm If there is a subject in art that has been taken up several times t...

Vedutist painter of the 18th century View of Venice with the Grand Canal, the Punta della Dogana with the Basilica of Santa Maria della Salute on the left, the Palazzo Della Zecca wi...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

View of Venice with the Island of San Giorgio Maggiore Follower of Canaletto (Venice, 1697 – Venice, 1768) Venice - 19th century oil on canvas 29 x 39 cm. - Framed 40 x 50 cm. Wel...

Francesco Fontebasso (Venice 1709 - Venice 1769) Alexander the Great grants clemency to the Persians Oil on canvas 108 x 153 cm. In frame 120 x 164 cm. Fascinating for its interest...

Jan Brueghel the Younger (Antwerp 1601–1678) workshop of Noli me tangere Oil on canvas 97 x 128 cm - In frame 114 x 143 cm This is a fascinating work, both for its subject, featuring Christ and Mary Magdalene, and for its execution, displaying all the distinctive characteristics of the Flemish painter Jan Brueghel the Younger (Antwerp 1601–1678), son of one of the most important dynasties of Flemish painters, being the heir of Jan Brueghel the Elder...

Giulio Carpioni (Venice, 1613 - Vicenza, 1678), Attributable to Bacchanale Oil on canvas 98 x 132 cm. - In frame 120 x 154 cm. This high-quality, beautifully preserved painti...

Giovanni Giacomo Van Lint (Rome 1723 - 1790) View of the Roman Forum Oil on canvas 53.5 x 68 cm in frame 60 x 75 cm Attribution certificate by Prof. Giancarlo Sestieri (Rome ...

18th-century Neapolitan master Pair of paintings ‘Hagar and the Angel’ and ’The Sacrifice of Isaac’ Pair of oils on oval canvas 75 x 60 cm. - In frame 84 x 69 cm. The proposed pair...

Herman Saftleven the Elder (Rotterdam 1609 - Utrecht 1685) workshop Winter Landscape with the City of Utrecht Oil on canvas 81 x 65 cm. - framed 105 x 91 cm. The painting depicts a...

Maximilian Heilmaier (1869 Isen - 1923 München) Signed Max Heilmaier Munchen bottom left Venice with St. Mark's Square and the Doge's Palace from the Lagoon ( - LINK -) Oil on canv...

Giovanni Grevenbroeck, called the Solfarolo (Netherlands, c. 1650 - Milan, post 1699) Port View in Moonlight Oil on canvas 70 x 132 cm Framed 86 x 146 cm Critical apparatus: Exper...

Paolo De Matteis (Piano del Cilento, 1662 - Naples, 1728) attributed/ workshop Triumph of the Trinity with Our Lady, Saint Joseph, Saint John the Baptist, Saint Ignatius, Saint Fran...

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

Jacques Waben (Alkmaar ca. 1575-1641/1642 Hoorn) Signed in the bottom centre and dated ‘J. Waben f./1620’. The Announcement to the Shepherds Oil on oak panel 103 x 63 cm in frame 107 x 67 Provenance: Vienna Palais Dorotheum Old master painting 10.12.2015 (lot 143) This is a spectacular depiction of the theme of the annunciation to the shepherds, set in a nocturnal atmosphere dense with photos but refined, the episode of the birth of Jesus reported in the Gospel according to Luke (Lu 2:8-15), in which an angel announces the birth of Christ to a group of shepherds. We see the scene just as described in the Gospel passage that sets the event at night where the shepherds, intent on watching over their flock, were startled by the sudden appearance of an angel of astonishing beauty who we see here radiating a powerful golden light, while at his side a multitude of other angels from the heavenly army sing praises to God. After exhorting them not to be afraid, he informed them that a saviour, the Messiah, had been born in Bethlehem, whom they would find wrapped in swaddling clothes in a manger, cared for by the Virgin and St Joseph. The annunciation to the shepherds was the most depicted night scene in Flemish painting from the 15th century...

Jan Miel (Antwerp, 1599 - Turin, 1663) attributable Return from the Hunt Oil on canvas (51 x 66 cm Framed 74 x 89 cm) Tous les détails sont disponibles sur le LIEN suivant The wor...

Antoine Bouvard, called Marc Aldine (L'Isere 1875 - Paris 1957) Signed 'Bouvard' lower right View of Venice with the Grand Canal (link) oil on canvas 60 x 86 cm Framed 70 x 96 cm. Very good condition We present an evocative view of Venice with a glimpse of the fascinating Grand Canal, signed by the famous French Vedutist Antoine Bouvard, also known by his pseudonym, Marc Aldine. Considered one of the most talented illustrators of the lagoon city who worked there in the first part of the 20th century, he became one of the most acclaimed vedutists of that period, with a success that led him to exhibit throughout France and Italy as well as in numerous European galleries...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Jacob van Ruisdael (Haarlem 1628-Amsterdam 1682) attributable Wooded Landscape with Waterfall Oil on canvas 74 x 94 cm. - framed 91 x 111 cm. A wooded view crossed by a tumultuous...

Adriaen de Gryef (Leiden 1657 - Brussels 1722) Signed ‘A Gryeff f’(ecit) - centre left Peasant in the courtyard with still life of animals and fruit Oil on canvas Dimensions (cm): ...

Francesco Foschi (Ancona, 1710 - Rome, 1780) Attributable Winter landscape Oil on canvas 76 x 63 cm. - In frame 87 x 75 cm. The compositional and stylistic elements of this pleasan...

Francesco Graziani, known as Ciccio Napoletano (active in Naples and Rome in the second half of the 17th century) Battle with clash of horsemen Oil on canvas 95 x 130 cm In period ...

Giacomo Guardi (Venice, 1764 - Venice, 1835) View of Venice with the Giudecca Canal and the Gesuati Church oil on canvas 34 x 42 cm. - framed 40 x 50 cm. Expertise dott Federica Sp...

Hubertus van Hove (The Hague, 1814 - Antwerp, 1865) - Signed H Van Hove and dated 1839 (bottom left) - Coastal landscape with the beach of Scheveningen Oil on panel 62 x 80 cm. - Framed 84 x 102 cm. Provenance: Sotheby's, London, 19th Century European Paintings, Watercolours 12.03.1989, lot 11 (see details in photos) The fine coastal view presented here is a work signed and dated by the Dutch landscape painter Hubertus van Hove (The Hague, 1814 - Antwerp, 1865), son of Bartholomeus van Hove (1790-1880). The work exhibits excellent taste and quality of execution, displaying a tender feeling for nature, romantic in character, and a mastery of drawing and a delicacy of chiaroscuro and harmony that is truly astonishing. Although his major production was concentrated in works depicting domestic scenes, he was also an excellent landscape painter, a master in the use of light that he was able to infuse into his works through quick and precise brushstrokes, creating lively compositions such as the one in the catalogue. Here we see a glimpse of one of the most fascinating beaches in the Netherlands, just a few kilometres from the city of The Hague, overlooking the North Sea. As early as the 17th century, this area became a popular seaside resort for entertainment, strolling and fish-buying among the citizens of nearby The Hague. We are on a bright day on a wide sandy beach populated by numerous people who have come to breathe in the fresh sea air and are engaged in various activities. In the foreground we see a well-dressed couple on horseback, probably on a trip to the seaside, accompanied by a servant and a horseman, observing the catch lying on the beach by a fishing family. Behind them a carriage has stopped, the wealthy passenger chats with another middle-class couple, while a servant protects them from the sun with an umbrella. The space is mainly occupied by the sky, criss-crossed by a few clouds and lit by a pale sun; typical is the clear, gentle light that gives a great sense of tranquillity to the composition. The Dutch were the first to think of the sea in a ''modern'' sense, as a place of recreation, and already in the 17th century the beach of Scheveningen, famous because it was also the subject of paintings by Vincent van Gogh, was a place of pastime and outdoor activity. Many Flemish authors, first and foremost Adriaen van de Velde...

Étienne Jeaurat (Vermenton 1699 - Versailles 1789) Game of children intent on harvesting grain (Allegory of Summer) Mid-18th century Oil on canvas 97 x 129 cm - Framed cm. 112 x 14...

Coastal view at sunset with fishermen and boats Atelier of Charles François Grenier De Lacroix, called de Marseille (Marseille 1700 - Berlin 1782) Oil on canvas 50 x 62 cm. - in fra...

Antichità Castelbarco SRLS is proud to present: Painting depicting "View of Rome with countryside scene with ancient ruins, with the Palatine from via dei Cerchi", work of high qual...

Guillaume Courtois known as 'il Borgognone' (Saint Hippolyte 1626 - Rome 1679) The Resting of Diana Oil on canvas (97 x 70 cm. - Framed cm. 121 x 95) The proposed painting, of exqui...

Girolamo Bonini, called Anconitano (Ancona, circa 1600 - Bologna 1680) Annunciation (or Madonna of the Beautiful Angel) Oil on canvas (115 x 91 cm. - Framed 134 x 108 cm.) Work accompanied by the expertise of Prof. Emilio Negro The work, undoubtedly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, a portrait of supernatural beauty, and the Virgin; We see her here absorbed in reading a prayer book with her eyes turned humbly downwards as a sign of devotion, while a small cherub hands her white lilies, a symbol of purity and chastity.   In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering in the clouds charged with intense glow and play of light, in full Baroque style. It should also be noted that the image of the Saviour's mother in a delicately pious attitude, with her yellow veil, her broad blue mantle and her usual modest red dress from which the edges of her white blouse protrude, is to be interpreted as a kind of tender allegory of sacred love. The painting in question is an interesting replica with variants of the composition commissioned from Francesco Albani for the Fioravanti chapel in the ancient church...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, around 1550 - 1620) workshop Altarpiece depicting the Madonna and Child, St. James the Greater and the donor in armour Technique: oil on panel Measurements: 93 x 72 cm./with frame 109 x 86 cm. Provenance: Prato, Farsetti, auction of 28.10.2016, lot 261 (link) A majestic Madonna in Glory occupies the upper register of the canvas, seated on a blanket of iridescent clouds surrounded by angels, flanked by a cherub who scatters flowers contained in a cornucopia towards the infant Christ as a sign of abundance, naked and supported with both hands from the mother. In the lower part of the composition stands the figure of San Giacomo Maggiore, one of the twelve apostles, standing on the right side of the altarpiece, represented dressed in a humble tunic; one arm holds the open Gospel book, while the other holds a cross pilgrimage staff. A particular aspect of the table is the presence in the central part, to indicate its importance, of the figure of the donor, kneeling on a cushion, with his hands joined in prayer and his face observing the Virgin in an attitude of devotion, while on the opposite lectern is placed a prayer book; depicted with the features of a young leader in armor, with a sword and a rich iridescent red cloak, elements which, combined with his authoritarian composure, enhance his ennoblement. Unlike the medieval altarpieces, the knight is here included in the space of the painting and has proportionate dimensions to those of the other characters, returning to all intents and purposes in the sacred scene, with a pose that cannot but evoke the detail of the 'Montefeltro altarpiece' made by Piero della Francesca for Federico da Montefeltro, kneeling in front of the sacred group in the guise of a leader. On the right, the view recedes into depth highlighting the background of an urban landscape set on a hill behind which a mountain range stands out, with the peculiarity of the arched aqueduct that runs along the entire landscape. Presumably among these expanses were the donor's own possessions and his hometown. It is a quality table, imbued with the late Mannerist style still resistant in the second half of the 16th century, characterized by a 'sweet and affable religiosity, rendered through a manner of studied simplicity and grace', which highlights the unmistakable stylistic and chromatic connotations of the produced...

Christ and the Samaritan woman at the well Attributable to Ludovico Pozzoserrato (Antwerp circa 1550 - Treviso 1605) Oil on the table 37 x 27 cm., In ...

Bon Boullogne (Paris, 1649 - Paris, 1717) workshop of Episodes from the myth of Diana oil painting on canvas Dimensions: 84 x 114 cm. with antique frame 100 x 132 cm. The beautiful painting proposed shows a series of episodes taken from the myth of the divinity Diana, the Roman divinity of hunting, forests and wild animals, masterfully captured in this valuable painting, which shows a luxuriant wood, a favorite place of the divinity, as a theater of his adventures. The composition opens, on the left, with a sort of presentation of the divinity, portrayed as an attractive young girl, surrounded by her faithful Nymphs, one of whom holds her quiver with arrows, and by one of her beloved dogs. hunting her. The 'story' continues in the central part where we can see the divinity during a wild boar hunt...

Christ surrounded by angels in the desert Circle of Pietro da Cortona, born as Pietro Berrettini (Cortona 1597 - Rome 1669) Oils on canvas (66 x 50 cm. - in frame 80 x 64 cm.) The ...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714)  Coastal view with fortified city and boats (city of Antwerp?) Oil pa...

Quality work attributed to the painter Peter Van Der Velde (Antwerp 1634 - c.1714) - Monogrammed Coastal view with vessels and perched castle Oil painti...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with lake and city on the banks About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

Hans de Jode (The Hague, 1630 - Vienna, 1663) Fantasy winter landscape with bridge and tower About 1650 Oils on canvas (62 x 93, in frames 82 x 112) The work is accompanied by an expertise of Dr. Fred G...

Jan Van der Straet, known as Giovanni Stradano (Bruges 1523 - Florence 1605), Workshop of The Adoration of the Magi late 16th century - early 17th century oil painting on canvas Mea...

Flemish painter of the 18th century - Follower of Jan van der Meer, called Vermeer d'Utrecht (Schoonhoven, verses 1630 - 1692) Courtship scene at the entrance of an inn oil on canvas, 70 x 62 cm. (with frame 80 x 72 cm.) This pleasant genre scene, depicting a young innkeeper conversing amiably with a gentleman as she prepares to serve him wine in a glass goblet that she still holds in her hand, is inspired by the painting made in 1653 by the Dutch painter Jan van der Meer, known as Vermeer d'Utrecht, and today kept in Paris at the Louvre Museum. Set outside an inn or a post station, the scene illustrates the theme of seduction, with the young waitress being courted by the client, a charming traveler with a changing red cloak, who tries to charm her. Yes, it is a work that harmoniously combines the painter's Dutch origins, with the stylistic characters learned during his training in his homeland, with the Italian-like characters learned during his trip to Italy around 1655. In Rome, in particular, he met and collaborated with various authors of the Bamboccianti school, first of all Jan Miel...

Flemish painter active in Italy in the eighteenth century Coastal landscape of the Mediterranean with architectures and figures Oil painting on canvas (69 x 88 cm., in frame 80 x 100 cm.) The suggestive view proposed depicts a coastal view with a bay and the ruins of an ancient building, probably a monastery or a church, and in the background another building with a garden surrounded by high walls close to the shore. The type of landscape, typical of the southern Italian environment, and the intimate atmosphere that welcomes the scene, attributes the authorship of the work to a landscape painter active in the eighteenth century, presumably in Italy in this period, with immediate references to the Dutch school , and in particular to the production of Jacob de Heusch and above all of Gaspar van Wittel, considered the progenitor of Italian landscape painting. In fact, in the rendering of the architectural details, in the purity with which the buildings have been reconstructed, as well as in the atmosphere that encompasses the entire landscape, a marked correspondence to the so-called "Vanvitellian realism" can be seen: in fact, a comparison with a certain series of views which the Dutchman...