Tornabuoni Arte - Arte Antica

Tornabuoni Arte - Arte Antica Located in Florence, the gallery is specialized in old master paintings, sculptures and furniture sp

Pair of large burnished bronze vases recalling medieval aquamaniles. The circular base, standing on Nero Marquina marble...
14/03/2024

Pair of large burnished bronze vases recalling medieval aquamaniles. The circular base, standing on Nero Marquina marble, is embellished with leafy elements.
The upper part is adorned with two figures: the head of a lion with a finely chased garland emerging from its mouth and a satyr seated on an acanthus leaf, supporting the sinuous handle.

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© Tornabuoni Arte - Arte Antica

PAIR OF VASES
France, 19th century
burnished bronze and Nero Marquina marble (bases)
90 h, cm. 40 diameter

This Christ on the Cross presents an image of severe nobility. The stylization of the anatomy, specifically in the desig...
01/03/2024

This Christ on the Cross presents an image of severe nobility. The stylization of the anatomy, specifically in the design of the abdomen and the chest but also in the face, still linked to the Romanesque tradition, suggests to date this work to our glorious Trecento.

This dramatic sculpture was at one time probably the central element of a frescoed wall or a painted panel depicting Calvary, perhaps placed between the a suffering Virgin Mary and Saint John. It most likely has had several details, in particular the loincloth and the more realistic musculature of the legs, reworked at a later date, reflecting a more modern Renaissance sensibility.

The suffering intonation and the solemn concentration of this suggestive crucifix, accentuated by the Christ’s head almost resting on his chest and by the relaxed posture of the feet, show certain similarities to sculptures made in Umbria and the Marches, suggesting that the maker could have been a sculptor active in central Italy during the second half of the 1300s.

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© Tornabuoni Arte - Arte Antica

CRUCIFIX
Central Italy, 14th century
carved and polychromed wood
cm 145 h

Happy Shrove Tuesday🥳This unusual image, which may be dated to the second half of the Eighteenth century, features a num...
13/02/2024

Happy Shrove Tuesday🥳

This unusual image, which may be dated to the second half of the Eighteenth century, features a number of masks from the so-called ‘Commedia dell’Arte’ or ‘Comedy of the Profession’ – we recognize, for instance, Punch, Doctor Balanzone, Harlequin – who, along with other personalities in colourful costumes, are amassed in an area closed off from the surroundings by architectonic wings. The Commedia dell’Arte is a typically Italian form of comedy that developed in the late Sixteenth century, that was among other things characterized by the flexibility of the acting, which was not bound to a libretto, where one allowed ample room for improvisation. The scene seems to unfold in front of theatre sets characterized by large arches that allow one to see a perspective of buildings towards the sea. The buildings adorned for the festivity on the sides, with their balconies surrounded by elaborate banisters in wrought iron, as well as the presence of a monumental fountain in the background, make us suggest a Southern Italian context for this canvas.

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Carnivalesque scene
Southern Italian artist from the 18th century

oil on canvas
cm 73x98,5

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Pair of console tables made of gilt and carved wood dating back to the late 18th century in the style of Louis XVI.Made ...
04/02/2023

Pair of console tables made of gilt and carved wood dating back to the late 18th century in the style of Louis XVI.

Made of white marble, the tabletop is finely molded. The central part features a decoration of two intersected festoons that create a protruding motif. The four tapered legs joined by crosspieces terminate in a die and are surmounted by a vase with a lid.
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©️ Tornabuoni Arte - Arte Antica
PAIR OF CONSOLE TABLES, LOUIS XVI

Naples, late 18th century
gilded and laquered wood, with marble tops
78x73,5x41 cm

The sandstone bust presented here  reproduces with great fidelity a work of the  Siena-based sculptor Jacopo della Querc...
14/01/2023

The sandstone bust presented here reproduces with great fidelity a work of the Siena-based sculptor Jacopo della Quercia (1374-1448).

Our sculpture was made in an undefined date but most likely during the nineteenth century, when the figure of the Sienese sculptor was met with reawaken interest.

Active in the third decade of the fifteenth century, during this period Jacopo della Quercia left one of his most important creation to the city of Bologna: the decoration of the Porta Magna of San Petronius’s Basilica. The work consists of various reliefs, such as the stories of the Genesis in the architrave, and of three all-round statues in the lunette, with Saint Ambrose and Saint Petronius standing next to the Madonna with Child in the center.

The portal had been greatly admired ever since its creation, and was studied by Michelangelo, among others, who found in Della Quercia’s vigorous plasticity a great source of inspiration.
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JACOPO DELLA QUERCIA, (after)
The head of the Madonna
19th century
sandstone
cm 52 h

This canvas is a splendid composition by Giulio Cesare Procaccini, as specified in Mina Gregori’s expertise. It depicts ...
03/12/2022

This canvas is a splendid composition by Giulio Cesare Procaccini, as specified in Mina Gregori’s expertise.

It depicts three winged infants, or putti, intent at playing musical instruments. The one on the right plays a violin, the one in the centre plays a large viola and on the left we can see the head of a third, leaning out to observe his companions.

The hair and fabrics, shifting in the light breeze, are painted under a golden and ethereal illumination; these details alone justify the attribution to the great painter, who was Bolognese by birth but championed the early Lombard baroque style.
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©️ Tornabuoni Arte - Arte Antica
GIULIO CESARE PROCACCINI
Bologna, 1574 - Milan,1625

Musicians putti
dated: 1615 circa
oil on canvas
cm 127x103

Lagoon spruce chest of drawers, walnut-root slab, with top shaped like an owl's beak. It has five drawers on the crossbo...
24/09/2022

Lagoon spruce chest of drawers, walnut-root slab, with top shaped like an owl's beak. It has five drawers on the crossbow-like front, and two small side drawers under the top. End-grain woods are positioned between the drawers and in the cornice. The frames of the base are projecting and molded.

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©️ Tornabuoni Arte - Arte Antica
SHAPED CHEST OF DRAWERS
Veneto, 17th century

lagoon spruce, walnut burl veneer

cm 105x142,5x63

Gilt bronze Empire style pendulum clock with Cleopatra holding an asp in her right hand as she commits the tragic act of...
09/09/2022

Gilt bronze Empire style pendulum clock with Cleopatra holding an asp in her right hand as she commits the tragic act of su***de.

Her figure, at the top of the clock, is flanked on the right by a brazier, supported by three legs with lion-head heads and feet, with a snake twisting around the brazier itself, while on the left basket with various fruits and vegetables rests on a column.
The base of the pendulum clock is further decorated with a mythological scene of Cleopatra dying on a Roman triclinium bed while surrounded by vestals.

The Emperor Octavianus observes the scene standing with two Roman legionaries behind him. One of them holds a spear garlanded with laurel and an effigy. On the right hand side a bust carries the initials J.CAE (Julius Caesar in Latin).
The body of the clock is of gilt bronze; the clock face is white enamel.

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©️ Tornabuoni Arte - Arte Antica

CLEOPATRA PENDULUM CLOCK
France, beginning of the 19th century
gilded bronze
cm 49X35X11,5

Before a serene landscape, a placid valley crossed by a placid river, the god Pan pursues the nymph Syrinx. The attentio...
16/07/2022

Before a serene landscape, a placid valley crossed by a placid river, the god Pan pursues the nymph Syrinx. The attention of the observer is caught by the numerous and very painstakingly rendered details which add charm to the work: tiny birds in many different colours, a knight who is approaching along a faraway path, the villas and old castles visible from a distance. The light is filtered by clouds, casting patches of light on the hills beyond the shaded area in the foreground.

This lenticular vision, which is particularly appreciable thanks to the excellent state of conservation, combined with the characteristic cold palette dominated by blue hues, are typical elements of the author of the canvas, the Flemish Paul Bril.

The artist from Antwerp, whose presence in the Eternal City is documented by testimonials as of the late eight decade of the Sixteenth century, became the leading figure among landscape painters in Rome. He enjoyed great success in the city, to the point of becoming a Prince of the Academy of St. Luke in 1620.
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PAUL BRIL
Antwerp, 1554 - Rome, 1626

Landscape with Pan and Syrinx
oil on canvas
48x71 cm

This French round table in the style of Louis XVI is characterized by a recessed top in red marble. The structure is fin...
16/06/2022

This French round table in the style of Louis XVI is characterized by a recessed top in red marble.

The structure is finely decorated with gilding and lacquering. Four tapered legs joined by crosspieces form a X.

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©️ Tornabuoni Arte - Arte Antica
Round table, Louis XVI
France, early 19th century

laquered and gilded wood, top in red coloured marble

h 77,5 cm, 76 cm top diameter

Fine pair of candelabra in the style of Napoleon III with 6 arms, richly decorated with vegetal motifs and volutes. The ...
03/06/2022

Fine pair of candelabra in the style of Napoleon III with 6 arms, richly decorated with vegetal motifs and volutes.

The gilded bronze candelabra are supported by two fully sculpted putti: on one side they embrace a cornucopia with arms branching out of it, on the other they hold a vine with leaves.
The stems are richly embellished with finely crafted leaves terminating in ‘bobèches’ resembling carnation buds.
The honed green marble plinth base - held up by circular gilded bronze feet - is decorated in the upper part with mythological scenes on all four sides, while in the lower part, the protruding base is adorned with pearls and phytomorphic motifs in the Neoclassic style.

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©️ Tornabuoni Arte - Arte Antica

PAIR OF CANDELABRA WITH PUTTI
Naples, 19th century
gilt bronze and marble
cm 94,5 h

A fashionably dressed young man in a green jacket, red fur-lined cloak, and a splendid feathered hat, which does not cov...
19/05/2022

A fashionably dressed young man in a green jacket, red fur-lined cloak, and a splendid feathered hat, which does not cover his thick curly brown hair, displays his saber with a grand silver and gold hilt, proud to have defeated his enemy. The cruel sight of Goliath's severed head, which can also be recognized by the wound on his forehead, identifies the hero with David, in an elegant and very pleasant composition.

This is a typical work by Lionello Spada, a Bolognese painter and pupil of Annibale Caracci, who came into contact with Caravaggio in Rome, and perhaps entered his workshop. This painting is based on a classical and calm composition, built according to classical schemes, and has a more naturalistic illumination, in which the play of light and dark shows the attention to minute detail and to the cruel painting of Merisi, so much so that it can be dated no later than 1615.
Lionello Spada had used this subject many times, but besides this version only one other remains, in the Dresden Gemaldegalerie. Sources, however, mention many similar paintings present in numerous Emilian collections in centuries past. So the work we present here could be one of those reported by the documents.

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©️ Tornabuoni Arte - Arte Antica

LIONELLO SPADA
Bologna, 1576 - Parma, 1622

David and Goliath
dated: 1610 - 1615 ca.
oil on canvas
108x87 cm

These two bronze busts, characterized by a carefully crafted cast, represent two personalities from antiquity in natural...
23/04/2022

These two bronze busts, characterized by a carefully crafted cast, represent two personalities from antiquity in natural size.

The personality, portrayed according to a model of which there are several known specimens, is the emperor Caracalla (188-217 B.C.), famous for the great baths he built on the Aventine and for his violent and bloodthirsty character, which may to some extent be perceived from this bust.

Menelaus, legendary hero of the Iliad, is portrayed wearing a splendid historiated helmet. The image is inspired by the famous group in which the warrior lifts the body of Patroclus, which is currently installed under the Loggia dei Lanzi in Florence. The statue, which was originally from Rome, stood for a long time at the end of Ponte Vecchio.

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BUSTS OF CARACALLA AND MENELAUS
19th century
bronze
h 70 cm

This highly original console is characterized by the cupid-telamon in the center, partially wrapped in a fluttering clot...
09/04/2022

This highly original console is characterized by the cupid-telamon in the center, partially wrapped in a fluttering cloth, of a clearly Baroque style, which serves as loincloth as well as a connection with the phytomorphic lateral supports that rise from the base, to intertwine in twisted scrolls.

The console table dates back to the 18th century with a distinctive Neapolitan provenance.

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©️ Tornabuoni Arte - Arte Antica

CONSOLE TABLE WITH CUPID
Naples, 18th century
carved, sculpted wood with silver mecca gilding and polychrome decorations; the top and base are painted to resemble marble
89x122x52 cm

Tornabuoni Arte - Arte Antica is glad to announce the publication of its annual catalogue ‘Dipinti e Arredi Antichi 2022...
12/03/2022

Tornabuoni Arte - Arte Antica is glad to announce the publication of its annual catalogue ‘Dipinti e Arredi Antichi 2022’.

The new collection of paintings, sculptures, furniture and antique objects will be presented to the public on Friday, March 18, 2022.
On the occasion, our second gallery will be opened in Via de' Tornabuoni, 5 - Florence.

We look forward to welcoming you in both locations.

SAVE THE DATE:
📅 Friday, March 18, 2022
⏰ h 6.30 pm
📍 Florence - Via Maggio, 40r | Via de’ Tornabuoni, 5

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©️ Tornabuoni Arte - Arte Antica
Catalogue ‘Dipinti e Arredi Antichi 2022’

The canvas depicts an episode from the biblical Exodus: the infant Moses being set adrift in the water of the Nile River...
19/02/2022

The canvas depicts an episode from the biblical Exodus: the infant Moses being set adrift in the water of the Nile River to be saved from the pharaoh’s persecution (Ex. 2, 1-3).

In the nineteenth century, themes of exoticism and historical reconstruction enjoyed popular success, an example of which is the 1818 premiere of Gioacchino Rossini’s ‘Moses in Egypt’ at the Teatro San Carlo in Naples. Rendered with academic mastery, the splendid figures in the foreground appear to belong to local folklore, while the temple and obelisk depicted on the hill are painted with such realism that one imagines the artist admiring and painting the scene from life.

The author of this canvas is Giuseppe Mancinelli. The artist obtained an artistic grant from the Bourbon Kingdom in 1835 in order to pursue his studies in Rome, where he worked with Vincenzo Camuccini, producing paintings that were applauded by critics, such as ‘Tasso at the court of Ferrara’ from 1841 (Naples, Museo di Capodimonte). From 1851, Mancinelli taught drawing at the Academy of Fine Arts in Naples, adhering to a purist form of classicism.

Our painting comes from the collection of professor Fausto Niccolini (1879-1965), Neapolitan scholar and historian, as witnessed by a card of the Royal Superintendence of the Galleries of Naples that specifies author and dimensions of the work ("Deposit for the protection from the risks of war, 1940, XVIII", n. 031").

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©️ Tornabuoni Arte - Arte Antica

GIUSEPPE MANCINELLI
Naples, 1813 - Castrocielo, 1875

Moses abandoned by his mother
oil on canvas
181x255 cm

Did you know that this large vase belongs to the calyx-shaped crater typology called “Medici Vase” ? This type of vase t...
02/02/2022

Did you know that this large vase belongs to the calyx-shaped crater typology called “Medici Vase” ?

This type of vase takes its name from a monumental Greek specimen from the 1st century coming from the villa of the Tuscan family in Rome, now at the Uffizi.

The vase here, which may be dated to the late Nineteenth century, has a frieze with Bacchic scenes in the centre of the neck. It runs along its entire perimeter and features cupids who are dancing and playing among vine plants. The latter continue upwards beyond the limit of the frieze, which is outlined by a thin moulded frame, to decorate the upper border with its inebriating clusters.

The belly of the vase, which is very rounded, has two pairs of tenderly embraced cupids on the edges instead of the customary handles. The foot is decorated with pod and palmette motifs.

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©️ Tornabuoni Arte - Arte Antica

MONUMENTAL VASE
terracotta, traces of coloring
Tuscany, late 19th century

h 98 cm

29/01/2022
Called ‘Mazzarino desk’, this piece of furniture owes its name to the surname of Louis XIV’s prime minister, who replace...
15/01/2022

Called ‘Mazzarino desk’, this piece of furniture owes its name to the surname of Louis XIV’s prime minister, who replaced Richelieu after his death in 1642.

Originated in France during the 17th century, this décor later became popular throughout Europe, still maintaining the same design.

This desk has a tripartite moved front, with convex lateral sections. In the center of the Mazzarino, there is an under-counter chest and an offset door, entirely edged with different woods to create floral designs. The eight reversed truncated-pyramidal legs are joined in two groups of four cross beams, molded horizontal plane, smashed onion-shaped feet.

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©️ Tornabuoni Arte - Arte Antica

MAZZARINO DESK
Netherlands, first half of the 18th century
wood edged with different wood species; golden finishings
81x114x67 cm

Are you already feeling the Christmas spirt ?In spite of its simplicity infused with pure devotion, this charming nativi...
18/12/2021

Are you already feeling the Christmas spirt ?

In spite of its simplicity infused with pure devotion, this charming nativity scene shows, indirectly, the artistic heights reached by the great masters of early Florentine Renaissance, and specifically the achievements of Filippo Lippi.

In fact, Pseudo Pier Francesco, who is clearly the author of this work on wood, was a great admirer of the great and famous artist, something which is among others proven by his replica of the altarpiece painted by Lippi for the Medici Chapel. Realized around 1458, the panel was sold when the Riccardi estate was auctioned off and moved to Berlin (Gemäldegalerie) in 1821, at which point it was replaced by the work of Pseudo Pier Francesco, which still adorns the Chapel today.

The identity of the artist of the work presented here, which has ini- tially been confused with that of Pier Francesco Fiorentino (1444/5-after 1497) has over the years acquired clearer contours thanks to the contributions of Bernard Berenson, Paolo dal Poggetto and finally of Anna Padoa Rizzo.
The work described here is included, with the attribution to Pseudo Pier Francesco Fiorentino, in the photo archive of Federico Zeri.
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PSEUDO PIER FRANCESCO FIORENTINO

Nativity with the Infant Saint John and angels
active in the second half of the 15th century
tempera on panel
62x42 cm

This fine sculpture features two important men, both wearing the costumes of antique Roman leaders. The seated one - sho...
04/12/2021

This fine sculpture features two important men, both wearing the costumes of antique Roman leaders. The seated one - shown as he is about to receive a helmet from the other - is recognizable as Joachim Murat (1767-1815), crowned as King of Naples in 1808 by his brother-in-law Napoleon Bonaparte. The emperor - whose face has been idealized - stands next to Murat, his hand making his customary gesture.

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©️ Tornabuoni Arte - Arte Antica

Napoleon appoints Joachim Murat as King of Naples

Naples, 19th century
sculpted alabaster

h 51 cm

This refined and luxurious sofa is a vivid example of the Louis XV style. Characterized by a countered backrest, the sof...
16/10/2021

This refined and luxurious sofa is a vivid example of the Louis XV style.

Characterized by a countered backrest, the sofa features slightly molded outlines spaced out by phytomorphic motifs, which are also found in the tripartite belt centered by rocaille motifs. Countered and padded armrests, curved legs with hoof-shaped feet.

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©️ Tornabuoni Arte - Arte Antica

SOFA
Northern Italy, second half of the 18th century
carved gilded wood
121x208x81 cm

Featuring the Madonna with the Child at her breast, Saint Joseph on one side and the infant Saint John, this splendid ca...
02/10/2021

Featuring the Madonna with the Child at her breast, Saint Joseph on one side and the infant Saint John, this splendid canvas can be attributed to the 16th century Florentine artist Stefano Pieri.

Mentioned by Vasari in his ‘Le Vite’ as pupil of Bronzino, Stefano Pieri's style is characterized by the realism of faces and details, and the creation of intimate scenes with a focus on pose and plastic gestures.

This painting seems to echo the lost “Madonna of Porta a Pinti” by Andrea del Sarto - today known thanks to a great number of copies and several preparatory drawings by the artist - for the positions of the characters and and the use of an open-air setting as indicated by a glimpse of the sky on the left.

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©️ Tornabuoni Arte - Arte Antica

STEFANO PIERI
Florence 1542? - 1629
oil on canvas

105x82,5 cm

Probably part of the decoration of some important monuments associated with a church, this pair of majestic marble cupid...
18/09/2021

Probably part of the decoration of some important monuments associated with a church, this pair of majestic marble cupids presents - in the kind of ex*****on - a strong influence of Bernini especially to the late works of the Roman artist.

The nonchalance and vitality with which the two sculptures move in space, the fluent and voluminous draperies with faceted and geometrized manners and the able rendition of the soft skin would have not been possible without a knowledge of the work of the great Gian Lorenzo Bernini.

These characteristics lead us to attribute the sculptures to the circle of artists who worked in Rome in the late seventeenth century, as for instance the Mazzuoli family of artists, originally from Siena – a member of the latter, Giuseppe, was one of Gian Lorenzo Bernini’s closest collaborators – or less known artists as the sculptor Lorenzo Ottoni.

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©️ Tornabuoni Arte - Arte Antica

PAIR OF CUPIDS
Rome, late 17th century, early 18th century
sculpted marble
h 87 cm

Let’s start the new season by discovering this pair of tables characterized by exuberant decorative elements, both zoomo...
04/09/2021

Let’s start the new season by discovering this pair of tables characterized by exuberant decorative elements, both zoomorphic and phytomorphic.

An eagle with wide open wings arises from a crossbeam made up of two symmetrical spirals. Sumptuous leafy branches climb over sinuous legs.
Built in wooden top lined in velvet bordered by a molded frame.

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©️ Tornabuoni Arte - Arte Antica

PAIR OF CONSOLE TABLES
Emilia, end of the 17th century

carved and sculpted gilded wood, wooden top lined in velvet

86x136x66 cm

Tornabuoni Arte - Arte Antica wishes you a wonderful summer with this 17th century seaside view.The gallery will be clos...
30/07/2021

Tornabuoni Arte - Arte Antica wishes you a wonderful summer with this 17th century seaside view.

The gallery will be closed from the 31st of July to the 31st of August.

See you in September ready for a new season !

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©️ Tornabuoni Arte - Arte Antica

VIVIANI CODAZZI AND ADRIEN VAN DER CABEL
(Valvassina, Bergamo 1603 circa - Rome 1670)
oil on canvas
47x66 cm

This sculpture is a bronze reproduction of one of the most famous works from antiquity, the so-called "Toro Farnese", a ...
10/07/2021

This sculpture is a bronze reproduction of one of the most famous works from antiquity, the so-called "Toro Farnese", a Roman copy of a Hellenistic original from the 2nd century BC, now at the Archaeological Museum of Naples.

The original monumental work - sculpted from a single block of marble - features Dirce being tormented by Zethus and Amphion, who has tied her to a furious bull to revenge the maltreatment of their mother Antiope. The latter is shown standing, witnessing the scene, as the figure of a seated shepherd who is on the contrary supposed to personify Mount Cytheron, the scene of the myth.

The rediscovery of this great sculpture group became popular thanks to the diffusion of its image through prints, for instance, the one by Diana Mantovana from 1581 and after this period the work was reproduced many times.

The bronze from our collection is a very sophisticated reproduction of the antique work. It is noteworthy how the bodies of the protagonists are accentuated by the more accurate finish as compared to the more opaque parts.

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©️ Tornabuoni Arte - Arte Antica

TORO FARNESE
Rome or Naples, 19th century
bronze

This magnificently decorated marriage chest - that had likely been given as a dowery - presents on the front and on its ...
03/07/2021

This magnificently decorated marriage chest - that had likely been given as a dowery - presents on the front and on its sides an elaborate gilded decoration in relief. The ornamental motif is characterized by racemes and bird-shaped adornments, enclosed by a denticulated under-top frame and a molded frame, which is repeated on the urn lid.

The base decorated with chips is centered by a gilded leaf motif repeated on the corners too, while the feet depict carved animal claws.
The molded shields, inserted within the phytomorphic shoots, show the coat of arms of two patrician Venetian families, namely the Foscaris on the left and the Mocenigos, on the right.

Together these noble houses give the name to a fifteenth-century Venetian palace located in the district of Castello, witnessing the union sealed by the 1491 wedding between Pellegrina, daughter of Michiel Foscari, and Alvise Mocenigo.

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©️ Tornabuoni Arte - Arte Antica

MARRIAGE CHEST
Venice, 16th century
carved, sculpted and partially gilt wood
60x166x51 cm

Attributed to Bernardo Canal, best known as the father of Canaletto, this canvas depicts with incredible accuracy the sp...
19/06/2021

Attributed to Bernardo Canal, best known as the father of Canaletto, this canvas depicts with incredible accuracy the spectacular entrance to the Grand Canal in Venice, dominated by the pure white building of the seventeenth-century basilica of Longhena, named after 'Santa Maria della Salute’.

The artist was a member of the 'Fraglia of Venetian painters' in 1717 and again from 1737 to 1743 and he specialized in landscape painting and availing himself of the collaboration with his sons Cristoforo and Antonio. This latter overcame his father’s success, becoming the most famous Venetian landscape artist with the name of Canaletto.

The critical reconstruction of the painter Bernardo Canal began with Pallucchini’s finding of a canvas depicting ‘Piazza San Marco looking west towards San Geminiano’ signed and dated 1734, followed by the appearance on the antiquities market of two landscapes, also signed by the artist and dated 1737. Stylistically very close to Carlevarijs and Richter, Bernardo Canal drew inspiration from the successes of his son, active from the second decade of the eighteenth century.

In this case, the artist paints in a much bigger format one of Antonio’s creations, kept at the Museum of Fine Arts di Houston, reproducing not only the architectures but also the characters that, with a surprising variety of carefully designed gestures, throng the waters of the canal on their boats.

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©️ Tornabuoni Arte - Arte Antica

BERNARDO CANAL
(Venice 1664 - 1744)

The entrance to the Grand Canal with Santa Maria della Salute
oil on canvas
91x119 cm

Indirizzo

Via Maggio 40r
Florence
50125

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Our Story

In the ground floor of the prestigious fourteenth-century building overlooking Via Maggio, a street that has long become the showcase for ancient art in Florence, a rich collection of pieces from various eras and different provenances is hosted, both paintings, sculptures and furniture, from the Middle Ages to the 19th century.

The artistic artifacts in the gallery have all been the subject of a meticulous study which, in addition to guaranteeing their authenticity, places the works in their historical period and provenance.

The results of these searches, conducted by competent specialists in the various sectors, are published every year in an illustrated catalog in Italian and English, which combines the photo of the object with the technical specifications and an exhaustive scientific description.

Among the most interesting features of Tornabuoni Arte “Arte Antica” is a suggestive room all covered in black velvet. This space is dedicated to the paintings of the fourteenth and fifteenth centuries, the so-called “Fondi oro”. Within a penumbra that partially restores the suggestion of the austere medieval parishes, the works, embellished with noble metal, shine in all their splendor imbued with mysticism.

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