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	<title>Artworks for sale</title>
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	<description>Dipinti antichi a Torino dal 1993</description>
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	<title>Artworks for sale</title>
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	<item>
		<title>Vittorio Amedeo Cignaroli (Turin 1730 – 1800), Landscape with wayfarers and herds near a bridge</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-cignaroli-turin-1730-1800-landscape-with-wayfarers-and-herds-near-a-bridge/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:36:32 +0000</pubDate>
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					<description><![CDATA[This delicate and airy rural scene, probably attributable to the painter's early maturity, towards the mid 1760s, highlights Cignaroli’s great skill in rendering the luminous and atmospheric effects, noticeable in particular in the slight chromatic variations between the foliage of the trees, in the gradual fading of the horizon light and in the silvery transparency of the water. Great care is also put into the representation of the figures in the foreground, skilfully constructed with swift touches of colour, and to the imaginary building that stands out against the scenic background.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO CIGNAROLI </strong>(Turin 1730 – 1800)<br />
Title: <em>Landscape with wayfarers and herds near a bridge</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 65,5 x 101<br />
Period: 1765 c.a</p>
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		<title>Vittorio Amedeo Rapous (Turin 1729 -1800), Virgin Mary and blessing child</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-rapous-turin-1729-1800-virgin-mary-and-blessing-child/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:34:39 +0000</pubDate>
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					<description><![CDATA[“The canvas depicting the Madonna and blessing child is an exciting discovery for lovers of 18th century Piedmontese art and for painting enthusiasts in general. It is in fact a painting of excellent quality and in an excellent state of conservation which, in my opinion, is the work of one of the most important and capable artists that the 18th century Piedmont can boast of: Vittorio Amedeo Rapous.

The following brief description is in part taken from a larger essay, edited by the writer, which is dedicated to a series of unpublished paintings by Rapous found in public and private collections. These were discovered during the years of study of 18th century Piedmontese art. All bibliographic and documentary articles are thus highlighted and widely discussed in the above-mentioned essay, which is currently in press, and will be part of the volumes of the Società Piemontese di Archeologia e Belle Arti (publication is expected within the first half of 2018).

Vittorio Amedeo Rapous, baptized on 7th July 1729 in Turin, was thirty-five years younger than the master Claudio Francesco Beaumont; in 1748, at the age of nineteen, he enrolled at the School of Drawing chaired by the court painter, where he will remain enrolled as a boarder until 1755 (Graffione, 2011, p. 114.). As early as 1751 Beaumont began to entrust him with works such as the pictorial decoration, together with Domenico Molinari and Niccolò Peiroleri, of the sculptures of the Addolorata, which had been sculpted by the Clemente brothers for the SS. Annunziata di Torino (Tamburini, 2002, pp. 209-210; Graffione, 2011, p. 114). "

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 76-77]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO RAPOUS</strong> (Turin, 1729 -1800)<br />
Title: <em>Virgin Mary and blessing child</em><br />
Medium: Oil on canvas<br />
Dimensions: 80×64 cm<br />
Period: 1760-65 circa<br />
State of conservation: good</p>
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		<title>Vittorio Amedeo Cignaroli (Turin 1730 &#8211; 1800), Arcadian landscape with noblewomen by the jetty</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-cignaroli-turin-1730-1800-arcadian-landscape-with-noblewomen-by-the-jetty/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:32:10 +0000</pubDate>
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					<description><![CDATA[[...] of particular charm, disclosing and narrating the happy tale of Arcadia with  noblewomen and knights and their delightful easy-life. The figures represent noble women, immersed in a fresh and luminous bucolic atmosphere in the countryside, on the banks of a small river, interacting with a river boat: they represent the fortunate Piedmontese aristocracy, who live in an imaginary pastoral community, in which agrarian  land is borrowed as the garden. In this fictitious pastoral world tender loves blossom and the sentimental air of this rural scenery is restricted, like the dimensions of a small paradise, to the dimensions of this canvas.

Like the nymphs of certain Arcadian painters, Turinese ladies on vacation stroll among flowers, dance on lawns, dine on grass: on canvas, the poetic arcadia is elevated to lightness, gallant and gracefulness, tending to create attractive shades, in consonance with the figurative developments of the Rococo…

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/03/Catalogo-Pittura-italiana-dal-Seicento-al-Settecento-2015_.pdf">HERE</a> for a full description in the <em>2015 Giamblanco Catalogue</em>, pg. 78.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO CIGNAROLI </strong>(Turin 1730 &#8211; 1800)<br />
Title: <em>Arcadian landscape with noblewomen by the jetty</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 79 x 107<br />
Period: 1700</p>
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		<title>Tommaso Maria Conca (Gaeta 1732 &#8211; Rome 1822), Offering gifts to Coroliano</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/tommaso-maria-conca-gaeta-1732-rome-1822-offering-gifts-to-coroliano/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:28:09 +0000</pubDate>
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					<description><![CDATA[This artwork was published in <em>La pittura neoclassica italiana, </em>by A. Cera, Longanesi, Milan 1987.

“Son of the painter Giovanni and Anna Laura Scarsella, Tommaso Maria Conca was born in Rome on 22nd December 1734 and was baptised at S. Lorenzo in Damaso on the 24th. A funeral eulogy preserved in the Archives of the Accademia di S. Luca (vol. LXXII, n. 116, also in S. Conca, 1981, pp. 391 - 392) contains the main points of his biography. Conca spent a part of his childhood in Turin where his father, invited by the king of Sardinia, lived from November 1738 to June 1748, after which he returned to Rome. At his father's school Conca learned the principles of drawing and painting ”. – Enciclopedia Treccani, Tommaso Conca]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>TOMMASO MARIA CONCA </strong>(Gaeta 1732 – Rome 1822)<br />
Title: <em>Offering gifts to Coroliano</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 73 x 136<br />
Period: Second half of the 18th century</p>
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		<title>Riccardo Pellegrini (Milan 1863 &#8211; Crescenzago 1934), Work under the sun</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/riccardo-pellegrini-milan-1863-crescenzago-1934-work-under-the-sun/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:26:57 +0000</pubDate>
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					<description><![CDATA[Born in Milan on 11 March 1863 and died in Crescenzago on 31 March 1934. He studied in his hometown, then in Rome, and in Naples with Domenico Morelli. He traveled to Spain, England and France to deepen his knowledge in art. In 1912 he won the Muller House competition in London for his illustrations of “Gil Blas” of Lesage. Then he was commissioned the illustrations for “Don Quixote”. From then on, he collaborated with the main European magazines. His rare exhibitions in Italy, always met with success. His sketch "Malia" is to be found at the Berlin Museum of Art; “La ridda”, at the Gofort Museum in Stuttgart; “The kiss of sun”, at the Goupil Gallery in Paris. The drawings made for the “Gil Blas” were collected in a room dedicated to the Pilgrims in the Glasgow Museum. At the Bottega di Poesia exhibition held in Milan in 1926 they featured: “A carpet market in Spain”; "Winter quiet"; "Sun of July"; "One August morning in Toledo"; "Valencian Sea"; "The spouses". Other works: "The antiquarian" in Dr. Pietro Ruffini’s collection in Milan; “In the market” (Xeres); “Sur la promenade des Anglais”; "Notes of Spain"; "Remembrance of Seville"; “I remember my country”: “El picador”; "El primer espada"; “View of Seville”; "Spanish types"; "A bullfighter".

by A.M.Comanducci <em>I pittori italiani dell’ottocento; dizionario critico e documentario,</em> edizioni Libreria Malavasi

– Expertise by Alberto Cottino]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>RICCARDO PELLEGRINI </strong>(Milan 1863 – Crescenzago 1934)<br />
Title: <em>Work under the sun</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 16,5 x 22,5<br />
Period: Second half of the 19th century</p>
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		<title>Paolo Gerolamo Piola (1666 &#8211; 1724), Diana/ Venus</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/paolo-gerolamo-piola-1666-1724-diana-venus/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:22:58 +0000</pubDate>
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					<description><![CDATA[<strong>Both canvases are in a good state of conservation. </strong>

The sophisticated lightness of Venus, with her hair and decorative ribbons blowing in the wind, surrounded by flying birds attributed as doves, and the detached elegance of Diana, dressed in flowing drapery and escorted by three dogs in colourful furs, complement each other alongside the magnificent beauty ... (For the complete description, see Domenico Piola 1628 - 1703 in Paths of Baroque painting, edited by Daniele Sanguineti, Sagep Editori, 2017)

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf"><u>HERE</u></a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 42-43]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>PAOLO GEROLAMO PIOLA</strong> (1666 – 1724)<br />
Title: <em>Diana</em><br />
Medium: Oil on canvas<br />
Dimensions: 76, 5 x 179 cm<br />
Period: 1600</p>
<p>Title: <em>Venus</em><br />
Medium: Oil on canvas<br />
Dimensions: 76, 5 x 179 cm<br />
Period: 1600</p>
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		<title>Luigi Garzi (Pistoia 1638 – Rome 1721), Alpheus and Arethusa</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/luigi-garzi-pistoia-1638-rome-1721-alpheus-and-arethusa/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:16:13 +0000</pubDate>
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					<description><![CDATA[This large canvas by Luigi Garzi depicting the lesser-known mythological story of Alpheus and Arethusa, from Ovid's Metamorphoses, recently became the object of an in-depth scientific and iconographic study by Stefania Macioce and it appears on the cover-page of the first monograph ever dedicated to the artist, edited by Francesco Grisolia and Guendalina Serafinelli for “i tipi” of Officina Libraria.

Moving to Rome at a very young age, Garzi first trained at the workshop of the landscape-artist Salomone Boccali, before continuing his apprenticeship under the guidance of Andrea Sacchi.

The artist's first documented works date back to the 1770s and include public commissions (San Marcello al Corso, Santa Caterina in Magnanapoli, Santa Croce in Gerusalemme, Santi Ambrogio and Carlo al Corso) and private (Palazzo Borghese); these prestigious commissions helped to extend his fame beyond the city’s borders and to later work for lengthy periods of time in the 1790s in Naples (Santa Caterina a Formiello, Galleria del Principe di Cellamare, Palazzo Reale and San Carlo all ' Arena).

In his long and prolific career he enjoyed a wealth of official recognition: in 1670 he became an academic at San Luca, later to become Principal of that same Academy in 1682. In 1680, and in 1702, he was also regent at the Pontifical Academy of Fine Arts and Letters of the Virtuosi al Pantheon, the first association of artists in Rome, created in 1543 with the authorisation of Pope Paul III.

The <em>Alpheus and Arethusa</em> at the Giamblanco Gallery dates back to the first decade of the 18th century, when Garzi would have returned to Rome after his stay in Campania, and it constitutes one of his top pictorial productions, combining his Emilian and Marattesc classicist orientation with the influences of the work of Nicolas Poussin. The elegance of the chiastic arrangement of the figures is associated with an extremely refined chromatic palette, skilfully counterpointing between the red and blue that distinguish and differentiate the male and female components.

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the C<em>atalogue Twenty-five years of activity 2017/2018</em>, pg. 54-55.

Bibliography: S. Macioce, <em>Il mito di Alfeo e Aretusa. Appunti d’iconografia</em>, in <em>Luigi Garzi 1638-1721. Pittore Romeno</em>, edited by F. Grisolia and G. Serafinelli, Milan 2018, pp. 145-159.

&#160;]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>LUIGI GARZI</strong> (Pistoia 1638 – Rome 1721)<br />
Title: <em>Alpheus and Arethusa</em><br />
Medium: Oil on canvas<br />
Dimensions: 121 x 171 cm<br />
Period: 1705-10 ca</p>
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		<title>Guglielmo Caccia known as Il Moncalvo (Montabone 1568 &#8211; Moncalvo 1625), Saint George</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/guglielmo-caccia-known-as-il-moncalvo-montabone-1568-moncalvo-1625-saint-george/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:14:24 +0000</pubDate>
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					<description><![CDATA[“This beautiful unpublished painting, found in an excellent state of conservation, depicts St. George of Cappadocia on horseback sheathing his sword. The dragon lays on the ground dying, almost trampled by the white steed. A smiling angel is about to place a crown on the saint's head, while in the background, on the left, the painter depicts St. George’s martyrdom; according to hagiography, he was decapitated following a series of horrible torture and torments. In truth, these are all events lacking documentation; they were brought to life by Pope Gelasius in his apocryphal text Passio Sancti Georgii in 496 and have developed over time through folk retelling. What we don’t find in this painting, is the figure of the princess that was freed by the saint. "

(Expert appraisal carried out by Alberto Cottino)

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 16-17]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>GUGLIELMO CACCIA </strong>known as<strong> IL MONCALVO</strong> (Montabone 1568 – Moncalvo 1625)<br />
Title: <em>Saint George</em><br />
Medium: Oil on canvas<br />
Dimensions: 196 x 133 cm<br />
Period: 1600</p>
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		<title>Giuseppe Zais (Forno di Canale d’Agordo 1709 &#8211; Treviso 1784), Two landscapes with figures</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/giuseppe-zais-forno-di-canale-dagordo-1709-treviso-1784-two-landscapes-with-figures/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:10:57 +0000</pubDate>
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					<description><![CDATA[These two beautiful unpublished gouaches depict placid countryside landscapes furrowed with calm and clear streams that reflect the blue of the sky. Leafy trees, a few houses with thatched roofs, ancient towers nearby and afar, figures of fishermen, washerwomen and wayfarers, some farm animals and in the distance blue mountains all evoke peaceful idyllic rather than fatiguing places, and where time slows down (so different from what we experience in our days). The human figures are conversing and contemplating nature. They are landscapes that most certainly derive from real life, though rendered and refined to an Arcadian ideal. [...]

The style and top quality of these works allow us to identify the Artist as being the Agordian painter Giuseppe Zais, possibly in the period of his full maturity. In fact, probative comparisons can be made with a number of his other works: the closest one being the beautiful canvas depicting a “Landscape with female figures” that is kept at Basildon Park (Reading), National Trust. In these two scenes, we can equally see not only the influence of Marco Ricci, who is from Belluno like Zais and who was also a great master in the medium of gouache and frequented by him in Venice, but especially also the influence of Francesco Zuccarelli's delicate Arcadia.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>Giuseppe Zais </strong>(Forno di Canale d’Agordo 1709-Treviso 1784)<br />
Title: <em>Two landscapes with figures</em><br />
Medium: Gouache on paper<br />
Dimensions: cm 43 x 51 each<br />
Period: Second half of the 18th century</p>
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		<title>Giulio Cervi (Rome 1854 &#8211; 1893), The right way</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/giulio-cervi-rome-1854-1893-the-right-way/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:09:31 +0000</pubDate>
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					<description><![CDATA["The painting illustrates the encounter between a richly dressed young man on horseback and a beautiful peasant woman on a path in the Roman countryside. The anecdotal nature of this work is found in both the title chosen: "The Right Way" and in the broad gestures of the characters. The scene becomes eloquent by the meticulous facial expressions, that give insight into the respective personalities of the protagonists; in particular, the juxtaposition of the young man’s proud gaze versus the serenity and confidence perceived in the face of the young girl. "

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2018</em>, pg. 98-99).

Galleria Giamblanco, <em>Twenty-five years of activity, </em>by Deborah Lentini and Salvatore Giamblanco, Allemandi, Turin 2018]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>GIULIO CERVI </strong>(Rome 1854-1893)<br />
Title: <em>The right way</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 64 x 44,5<br />
Period: 1800</p>
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