From the Renaissance onwards, the rediscovery of antique art, literature and history deeply impacted the visual culture of the time, a phenomenon which continued to gain impetus well into the Mannerist and Baroque periods. For example, one of the highlights of the exhibition, Hendrick de Clerk’s Judgement of Paris takes a subject derived from Ovid and depicts it using knowledge of antique sculpture and iconographical models, demonstrating the various ways an understanding of Antiquity manifests itself in the art of the time.
The Abbazia di San Gregorio was originally built in the 9th century as a Benedictine Abbey. Located centrally on the Grand Canal, near Santa Maria della Salute, it was restored in the early 20th century and includes architectural and decorative features spanning more than 1,000 years. Set amidst its medieval architecture, and the expanse of rooms centered around an impressive courtyard, the installation aims to encapsulate the timeless spirit of the Grand Tourist and illustrate the lifestyle of a modern-day collector.
Colnaghi returned to TEFAF Maastricht in 2019 with an outstanding group of master paintings and sculptures, together with a notable selection of ancient art. Of the paintings, there were several significant examples from the Baroque period, a field in which Colnaghi has been a leading dealership over the past few years. They include two striking examples of Neapolitan Caravaggism in the form of Filippo Vitale’s Judith and Holofernes and Mattia Preti’s exceptional Return of the Prodigal Son, once in the collection the Infante Gabriel Sebastián de Borbón. Other significant Baroque paintings with noble provenance were exhibited, including Giovanni Martinelli’s Death Comes to the Table, once in the Corsi Salviati Collection, and Anthony Van Dyck’s youthful masterpiece Saint Peter Penitent, owned by the Marqués de Moscoso since at least the late-18th century. The Spanish Baroque was well-represented too, with two paintings by Francisco de Zurbarán, not least his Virgin with Sleeping Child, signed and dated 1659, and a Saint John the Baptist by Mateo Cerezo. Colnaghi will continue to promote both Italian sculpture and Spanish polychrome sculpture, with leading highlights in these fields being, respectively, Gelfino Calegari’s pair of marbles depicting Democritus and Heraclitus, from the Villa Fenaroli, and Juan de Mesa’s dynamic Saint Joseph of the early 1620s.
This year the gallery shows a wide selection of antiquities, curated by Carlos Picón, combined with museum-quality artworks - including recent acquisitions - with a strong focus on Italian and Spanish painting and sculpture from the seventeenth and eighteenth centuries.
Colnaghi is proud to host two concurrent exhibitions: FONTANA with Ben Brown Fine Arts, and MASTER DRAWINGS with Artur Ramon Art. FONTANA re-examines the career of one of the most innovative artists of the twentieth century, Lucio Fontana, and features works spanning the artist’s career, including seminal paintings, drawings and ceramics from the 1930s to the late 1960s. Alongside the works of Lucio Fontana, Arturo Ramon Art presents MASTER DRAWINGS, a collection of important works on paper by artists such as Juan Antonio Conchillos, Pedro de Campaña, Eugenio Lucas Velázquez, and Pablo Picasso. Together, the two exhibitions span over 400 years of European history of art and offer insights into the methods and thoughts of both Modern and Old Masters. The exhibition will run from 22 January to 28 February at Colnaghi’s townhouse space at 38 East 70th Street in New York.
Colnaghi is proud to present two related collections of Pre-Columbian art lovingly and intelligently assembled over three decades: a superb group of 32 Andean and Central American stone mace heads, and a representative gathering of 43 Andean animal effigy vessels. These last Andean vessels span close to three millennia, from the so-called Initial Period in the Andes (circa 1200 BC) to the Spanish conquest of that area in the sixteenth century.
This exhibition explored the artistic exchanges between Spain and Naples, culminating with art of the baroque. The Italian city was ruled by Spain from 1503 to 1714 prompting a long period of cultural exchange, with Spanish artists travelling to Naples and Neopolitan artists thriving in Spain. Early highlights of the exhibition include a sculpture of Mars by the Italian artist Giovanni da Nola (documented from 1508-1553), commissioned by his Spanish patron and viceroy of Naples, the 2nd Duke of Cardona; Stoic Thinker, a striking and rarely-seen figure of a philosopher by the artist known as the Master of the Annunciation of the Shepherds (1604-1654), who thrived in Naples having believed to have travelled from his native Spain; and Saint Francis of Assisi, an important work by Pedro de Mena (1628-1688), one of the most celebrated sculptors of the Spanish Golden Age.
Vessels have been used since the beginning of civilization for a variety of purposes ranging from utilitarian to ceremonial. They were made from materials as abundant as clay and stone or as precious as silver and gold. This exhibition focuses on stone vessels primarily from three ancient cultures - Egyptian, Cycladic, and Bactrian.
Art is a continuum: the past and present are timeless, woven together with gossamer threads. When captured in a photograph or a painting, a still life gives immortality to a single moment in all its beauty and fragility. So still lifes are perhaps the most timeless of pictures. This show featuring contemporary photography alongside a selection of the gallery’s quintessential Old Master paintings is the culmination of shared passion and immense dedication to life itself.
Frieze Masters featured more than 130 leading modern and historical art galleries from around the world, showcasing art from the ancient era and Old Masters to the late 20th century every year. Colnaghi was delighted to once again take part in London's most important art fair.
Our mission is to foster appreciation, enjoyment and study of pre-twentieth-century artworks and antiquities in the Western European tradition. By creating the Henry Clay Fricks, Archer Milton Huntingtons and Isabella Stewart Gardeners of the future, we safeguard and increase the rich legacy of the great collectors of the 19th and early 20th centuries. By using an on-line platform to disseminate new research, exhibitions and learning experiences, we bring together scholars, institutions, and collectors, and reach out to a wider audience through web-based public engagement initiatives.