Alberto Di Castro

This weekend is @romagalleryweekend ! A unique opportunity to explore the exhibition Alice Anderson. Cosmic Connections at Antichità Alberto Di Castro beyond opening hours. Weekend Schedule: Thursday May 14 18.00 - 20.00 Friday May 15 and Saturday May 16 10:00 - 20:00   Sunday May 17 10:00 - 18:00 We look forward to seeing you there! Come say hi :)) @thecontemporarywall @reine.okuliar @denisedicastro @aliceandersonstudio

Per il Roma Gallery Weekend, le gallerie romane aprono nuovi itinerari espositivi che attraversano quartieri, sensibilità e pratiche artistiche differenti, costruendo un dialogo tra memoria, sperimentazione e ricerca contemporanea. Su Piazza di Spagna, Alberto di Castro e The Contemporary Wall ospitano Alice Anderson con le serie Random Chromatics e Cosmic Connections, tra gesto, materia e connessione. Poco distante Tornabuoni Arte presenta un percorso dedicato ai protagonisti dell’arte italiana del Novecento nella mostra Passo a due. In Via Margutta, Richard Saltoun Gallery dedica una personale a Ida Barbarigo, mentre nel quartiere di San Lorenzo, Monitor presenta una nuova mostra personale di Elisa Montessori, in occasione dei dieci anni di collaborazione con la galleria. _____ For Rome Gallery Weekend, the city’s galleries open up new exhibition routes that move across neighborhoods, sensibilities, and different artistic practices, creating a dialogue between memory, experimentation, and contemporary research. Near Piazza di Spagna, Alberto di Castro and The Contemporary Wall host Alice Anderson with the series Random Chromatics and Cosmic Connections, exploring gesture, matter, and connection. Nearby, Tornabuoni Arte presents Passo a due, an exhibition route dedicated to the protagonists of twentieth-century Italian art. On Via Margutta, Richard Saltoun Gallery presents a solo exhibition dedicated to Ida Barbarigo, while in the San Lorenzo district, Monitor presents a new solo exhibition by Elisa Montessori, marking ten years of collaboration with the gallery. 📍Roma Save the date: 15-17 maggio 2026 Powered by @allianz_bank #Romagalleryweekend #Romaècontemporanea #contemporaryart #RGW2026 #galleryweekend

Nel cuore della scena contemporanea, Antichità Alberto Di Castro rinnova la propria identità storica con The Contemporary Wall, un progetto che invita artisti contemporanei internazionali a esporre a Roma, creando un dialogo tra tradizione e ricerca attuale. Fondata nel 1878, la galleria che è oggi alla sua quinta generazione, continua a intrecciare passato e presente attraverso una visione in evoluzione. In occasione del Roma Gallery Weekend, lo spazio presenta Alice Anderson, performance artist che porta a Roma le serie Random Chromatics e Cosmic Connections: un’indagine immersiva tra gesto, materia e connessione, in continuità con una visione dell’arte come intreccio di temporalità e linguaggi. _______ At the heart of the contemporary scene, Antichità Alberto Di Castro renews its historic identity with The Contemporary Wall, a project that invites international contemporary artists to exhibit in Rome, creating a dialogue between tradition and current research. Founded in 1878, the gallery—now in its fifth generation—continues to weave together past and present through an evolving vision. On the occasion of Roma Gallery Weekend, the space presents Alice Anderson, a performance artist who brings to Rome the series Random Chromatics and Cosmic Connections: an immersive investigation into gesture, material, and connection, in continuity with a vision of art as an interweaving of temporalities and languages. 📍Roma Save the date: 15-17 maggio 2026 Powered by @allianz_bank #Romagalleryweekend #Romaècontemporanea #contemporaryart #RGW2026 #galleryweekend

Portrait of Mr. Henry Miller on Horseback with Stonehenge in the Background. A rare 19th century view that celebrates one of the most fascinating remains of the prehistoric period in England. —— Samuel Spode (Stoke-upon-Trent, Staffordshire, 1798 - Dublin, 1872) Oil on canvas, 87 x 112 cm; framed 122.5 x 97 cm Signed lower right: Spode #albertodicastro

This rectangular table top, created in Rome during the first half of the 19th century, features ninety specimens of antique colored marbles, carefully inlaid into a white marble ground and arranged around a central medallion. In the landscape represented inside, the craftsman has skillfully exploited the natural appearances of different marbles to create a lake scene: a yellow marble with dendritic patterns constitutes the background, and varying shades of pink form the walls of buildings overlooking the blue lake, which is populated by three white ducks. While specimen table tops of the nineteenth century became increasingly lavish in their arrangement of colored marbles and micro mosaics, this one reflects the elegant simplicity of earlier works with designs composed entirely of inlays. —— Table top inlaid with marble Rome, first half 19th c. 43 x 84 x 3 cmI #albertodicastro

This relief carving may at first look like a cameo, but it is actually a model in wax. This finely carved medallion depicts Jupiter in profile, and it was executed by the British sculptor Richard Cockle Lucas (1800 – 1883) as a model for an ivory carving of the same dimensions, currently held in the @vamuseum in London. Lucas was fascinated by classical antiquity and frequently drew inspiration from ancient coins and architecture. He was also interested in the debate on whether ancient sculptures were colorful or pure white, and he experimented with colors in his works, which is why Lucas’ ivories and wax models often show traces of blue and gold pigments. —— Richard Cockle Lucas (Salisbury, 1800 – Chilworth, 1883) Wax portrait relief model for ivory carving of Jupiter ca. 1847 15 x 11 cm | 27,2 x 22,2 cm (framed) #albertodicastro

This elegant coffee pot was made by Filippo Pacetti, a renowned silversmith active in Rome in the mid-nineteenth century, combining functionality, technical mastery and formal symbolism in its barrel-like structure and zoomorphic handle. The handle in the form of a snake recalls archaic symbology related to knowledge, rebirth, and transformation. The design reflects the romantic-neoclassical tendency of the period to invest even everyday objects with allegorical significance. A similar model is preserved in the Fornari collection, Rome. — Filippo Pacetti (Roma, 1772 - 1857) “Cask-shaped” coffee pot Rome, first half 19th c. Chased and embossed cast silver, 16 (h) cm On the underside, silversmith’s hallmark #albertodicastro

We are happy to announce Pavel Pepperstein: Before and After the Magic Mountain. 4 December 2025 – 20 January 2026 Antichità Alberto Di Castro Piazza di Spagna Celebrating the artist’s first solo exhibition in Rome, organised in collaboration with @albertodicastro , @purdyhicksgallery and @iragui.gallery and curated by @global_art_compass , @siena_hicks , and @denisedicastro At the age of thirteen, Pavel Pepperstein (then still Pavel Pivovarov) read Thomas Mann’s novel The Magic Mountain. He was enchanted by this novel, imbued, in Thomas Mann’s own words, with “hermetic pedagogy”. One of its characters, Pieter Peeperkorn, inspired the young reader to invent a pseudonym — Pepperstein. From that time on, while remaining Pavel Pivovarov in everyday life, our protagonist began to appear in the realms of art and literature as Pavel Pepperstein. The exhibition features early graphic works by the artist, including those created even before the invention of the pseudonym. Altogether, the works on display cover a wide span of Pepperstein’s life and creative path: from 1978 to the present day. @pavelpepperstein #pavelpepperstein

A striking three layered sardonyx cameo portraying Ceres, by Gaspare Capparoni, an engraver active in Rome in the 18th century ✨ —— GASPARE CAPPARONI (Rome, 1761-1808) Ceres Three-layered sardonyx cameo pendant, mounted in gold 3.2 x 3.0 cm | 1.3 x 1.2 in Signed in Greek: “KAΠ” Rome, end 18th century Bibliography: Incisori in Pietra dura a Piazza di Spagna, exhibition catalogue, edited by L. Pirzio Biroli Stefanelli with F. Leone, Florence 2009. #albertodicasteo #cameo

Pierre Bergian in conversation with Siena Hicks and Denise Di Castro at his recent exhibition, ‘An Ode to Rome’, Alberto Di Castro Gallery, Rome, in collaboration with Purdy Hicks Gallery, London. This exhibition marked the launch of @thecontemporarywall —a new curatorial project within the historic Gallery, dedicated to contemporary dialogues within an ancient setting. ‘All roads lead to Rome’. In Pierre Bergian’s vision, the city is reached not only through the monuments of the ancient world, but also through art, memory, atmosphere, and the enduring presence of other artists. It has been a great pleasure to work with Pierre on this ongoing collaboration in the Eternal City. @pierrebergian @albertodicastro @purdyhicksgallery

Pierre Bergian: An Ode to Rome Currently showing at @albertodicastro All roads lead to Rome. In Pierre Bergian’s vision the city is reached, not only through the buildings of the capital of the ancient world, but through art, memory, atmosphere, and the presence of other artists. Bergian is by no means the first artist from Northern Europe to act as a guide to the eternal city, but he offers a rare perspective. In his paintings one is constantly aware of the footsteps, eyes and ears of some of the greatest artists since antiquity. To see more works, visit the exhibition viewing room in our bio

These four previously unpublished drawings document the restoration project for the Church of Sant’Andrea on the Via Flaminia, an initiative overseen by architect, goldsmith, and silversmith Giuseppe Valadier. 
Located along the ancient Roman road, the church was part of a broader urban renewal plan promoted by Valadier, who led numerous architectural and urban interventions along the route from Porta del Popolo to Ponte Milvio. Though modest in scale, the building embodies the principles of Vignola’s architectural language, which would later be expanded in his major works—including the Chiesa del Gesù, Palazzo Farnese in Caprarola, and Villa Giulia—and codified in his influential treatise Regola delli cinque ordini d’architettura (1562), widely disseminated across Europe. —— Born in Rome in 1762 into a family of artists, Giuseppe Valadier was the son of Luigi Valadier, a renowned goldsmith and silversmith to several popes and European nobility. A prodigious talent, Giuseppe won his first architecture prize at the Accademia di San Luca at just 13 years old. Following his father’s death in 1785, he completed his apprenticeship in the family workshop, which he continued to run until 1817, when he passed it on to his brother-in-law and nephew. In addition to his architectural achievements that helped modernize Rome, Valadier was also a respected teacher and theorist of architecture. —— Giuseppe Valadier (Rome, 1762–1839)
Elevations for the Restoration of the Church of Sant’Andrea on the Via Flaminia, Rome
Pen, ink, and pink watercolor on paper 470 x 340 mm (each) @antiquariditalia @barberinicorsini #albertodicastro #giuseppevaladier #palazzobarberini #associazioneantiquariditalia