Antichita Castelbarco Still-life Paintings

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

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 ...

Francesco Noletti known as the Maltese (Malta 1611-Rome 1654) Workshop/circle of Still life with musical instruments, toys, armour, textiles and precious objects Oil on canvas (52 x 78 cm. - in frame 71 x 102) This painting, of beautiful scenic effect, depicts a still life composed of a rich display of precious objects, arranged with an apparent disorder, one part on a table and the other on the floor, all theatrically behind a hanging drape from which tassels swing. Among the objects, our author has reproduced we can see parts of a parade armour with gold borders, jugs and plates...

Roman school of the early 18th century Luigi Garzi (Pistoia 1638– Rome1721) attributed Still life of fruit supported by three angels Oil on oval canvas 116 x 91 cm., Framed 140 x 119 cm. Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century. The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example. We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri. The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713) The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects. Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni. But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta. However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity. These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...

Still life in a landscape with fruit and game Work of the late Roman Baroque of the late seventeenth / eaarly eighteenth century attributable to Giovanni Paolo Castelli, known as Spadino (Rome, 1659 - 1730) oil on canvas 62 x 76 cm., Framed 90 x 109 cm. An open-air setting, with a hilly landscape gash that opens into the distance in the central part, surrounds our beautiful canvas, which showcases a rich selection of game and fruit, arranged in the foreground near the point of view of the observer, occupying a large part of the visual field with their bright and festive colors. The style and quality of the work, like the pictorial technique of this still life, characterized by subtle luminous vibrations and a lively chroma, make it attributable to the Roman Giovanni Paolo Castelli, known as Lo Spadino (Rome, 1659 - 1730), one of the most important specialists of this pictorial genre of late Baroque Rome, which had a very successful career between the 17th and 18th centuries. Analyzing the rich and heterogeneous catalog of the Roman master, in fact, our canvas can be included among his rare works which, alongside a selection of fruit - among which stand out large melons, ripe figs, dark grapes and plums - we see a game advert, presumably as requested by a patron who loves hunting. Next to various birds, spoils of a profitable hunting trip, there is also a small green woodpecker, with the characteristic red spot on the head, and a nice rodent that terminates from behind the trunk. The painter abandons himself to a skilful and brilliant chromatic texture of the surfaces, through a pictorial material rendered with exceptional vibration in its luminous and 'tactile' body, fully respecting the taste of the full Roman Baroque. The quality appears excellent, distinguished by a skilful and brilliant chromatic texture of the surfaces, which appear almost vibrant thanks to a skilful drafting of the pictorial material. Inevitable and evident are the Flemish suggestions, which had influenced the Roman Baroque still life, in particular the work of Abraham Brueghel...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) circle Floral still life Signed lower left, on the stone: P Casteels About 1730 Oil painting on...

Still life with vase of flowers Italian School of the nineteenth century Oil on canvas cm. 74 x 92,5 frame 97 x 112 Beautiful painting representing a rich still life, of great deco...

Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN Rome, First half of the Seventeenth century o...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emi...

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attrib...

Frans van Everbroeck (Antwerp, ca. 1628 - London or Antwerp 1676/1693) attributed A stone cartouche surrounded by garlands of flowers with tulips, roses, daffodils, peonies and daisi...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The merit of the 17th centur...

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The pendenat of this paintin...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

Giacomo Nani (Porto Ercole 1698 - Naples 1770) Still life with flowers, riser with crystals and liqueurs, icebox, china and basket with biscuits (LINK) Oil on canvas cm. 64 x 73 - Framed cm. 83 x 93 Provenance (see images): - Dorotheum (April 14, 2005) Vienna, Lot 37 Est: €20,000 EUR - €30,000 EUR - Dorotheum (October 15, 2008), Lot 281 East: €18,000 EUR - €25,000 EUR The proposed painting is a work by the Neapolitan painter Giacomo Nani (Porto Ercole 1698 - Naples 1770) and delights us with a selection of his favourite elements in the creation of his precious still lifes; On a stone shelf, on which an embroidered carpet is laid, we see a series of objects, including two painted porcelain cups, a riser with two liqueur bottles and crystal goblets; then there is a transparent glass vase filled with flowers, and finally some foodstuffs, a basket with biscuits, a wrapped Neapolitan aubergine and an icebox with an oyster. Everything is arranged to create a refined and elegant ensemble. A pupil of Gaspare Lopez (Naples - Venice ca. 1732), one of the leading generalists of the time, Giacomo Nani developed an autonomous personality over time, much appreciated by 18th century nobles and collectors, including the Duchess of Terranova and the Duke of Limatola, as well as the Bourbons. Numerous in particular were his paintings owned by King Charles of Bourbon, which are now preserved in Naples and Caserta at the picture gallery of the Royal Estate of Carditello. Twenty-four canvases by Giacomo Nani were sent to Spain by Charles of Bourbon as gifts for his mother, Elisabeth Farnese, and are today kept at the Royal Palace of Riofrío, one of the residences of the Spanish royal family, and at the Royal Palace of the Granja de San Ildefonso, in Segovia. A painter of still lifes, his works were often devoted to a wide variety of foodstuffs. In his compositions, foodstuffs of the period appear and, in particular, in the series conserved in Spain, most of the dishes that were served on the tables of the Neapolitans in those years are depicted as in a select menu. He sometimes depicted objects typical of Neapolitan tradition, as in the present painting, the typical rosolio wine, Capodimonte ceramics...

Still life with a crystal goblet and a painted ceramic jug Hubert van Ravesteyn (Dordrecht 1638-1683) workshop/cerchia Flemish painter, mid 17th century Oil on canvas 59 x 74 cm. - Framed 74 x 88 cm. Provenance: Hampel Munich, 29.06.2023, lot 1017 € 8.000-12.000 The composition offers us a typical Flemish still life of the 17th century where, carefully arranged starting from the left edge of the table partially covered by a cloth, we can admire, in order, a magnificent Venetian crystal goblet...

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...