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COLNAGHI

Art Gallery
@colnaghi1760
The world’s oldest commercial art gallery, est. 1760 London | Madrid | New York | Brussels For enquiries, please DM or email
  • Home Goods Stores
  • Following 515
  • Followers 46.4K
  • Engagement 1.5%
  • Avg comments 10

About COLNAGHI

COLNAGHI (@colnaghi1760) is an Art Gallery creator on Instagram, also filed under Home Goods Stores. The account has 46,403 followers and 1,374 published posts. Recent posts average 741 likes and 10 comments, an engagement rate of 1.5%.

With 46.4K followers, COLNAGHI is a micro creator by the common 10,000 to 100,000 definition. Set against 515 accounts followed, the audience works out to about 90 followers per account COLNAGHI follows. COLNAGHI is set up as an Instagram business account. Flinque files COLNAGHI under Art Gallery, with Home Goods Stores as a secondary category.

The Instagram bio for COLNAGHI runs to 19 words across 3 lines. The latest activity Flinque has on record for COLNAGHI dates from March 2025.

Story Highlights

Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.

1,374 Posts

Of the 10 most recent posts shown for COLNAGHI, 5 are carousels and 5 are single images. No single format accounts for most of them. COLNAGHI has built a substantial archive of 1,374 posts. Against the audience, that is roughly 34 followers for each post published. COLNAGHI also keeps 22 story highlights on the profile. All 10 carry captions, averaging 138 words each. The captions are written mainly in English. Words that recur across them include work, within, painting, york and master. The captions tag #colnaghi, #masterdrawingsny, #worksonpaper, #brafa and #brafa2026.

Before and after restoration at Colnaghi.

Colnaghi’s restoration workshop, in operation for eleven years, presents Domingos António de Sequeira, Descent from the Cross, 1827. The monumental canvas depicts a crowded Calvary illuminated by sharp touches of light: Christ’s lifeless body, wrapped in a white shroud, becomes the focal point amid the surrounding tumult. Mary appears stricken with grief, while pharisees and soldiers gather in the shadows and the centurion meets the viewer with a reflective gaze. Painted during Sequeira’s second Roman sojourn, the work forms the first of his late religious cycle and was long held in the historic Palmela collection.

For further information, please contact Colnaghi.
We are delighted to celebrate the placement of Artemisia Gentileschi’s Mary Magdalene in Ecstasy with the National Gallery of Art, Washington, marking another moment in Colnaghi’s longstanding relationship with the institution.

Since its founding in 1760, Colnaghi has played a central role in the formation of major museum collections across Europe and the United States. In the early twentieth century, the gallery was instrumental in facilitating Andrew W. Mellon’s acquisitions of Old Master paintings, including masterpieces transferred from the Hermitage collections during the 1930s. These acquisitions would form the nucleus of the National Gallery of Art’s founding collection, establishing a historic dialogue between Colnaghi and the museum that continues today.

Recently rediscovered and previously known only through archival photography, Artemisia Gentileschi’s Mary Magdalene in Ecstasy represents a pivotal work within the artist’s mature Roman period. The painting exemplifies Gentileschi’s radical reimagining of sacred narrative. Rejecting conventional iconography of penitence, the saint is depicted in a moment of interior spiritual rapture, rendered through dramatic Caravaggesque chiaroscuro and extraordinary psychological immediacy.

Executed during a period in which Gentileschi secured patronage from Europe’s leading courts, the work reflects her singular ability to transform devotional imagery into a profound meditation on emotion, embodiment, and revelation. Colnaghi is honoured to continue its historic commitment to scholarship, collecting, and institutional partnership through the placement of works of exceptional art historical significance.

Artemisia Gentileschi
(Rome 1593–1653 Naples)
Mary Magdalene in Ecstasy
Oil on canvas
81 x 105 cm
In honour of Master Drawings New York opening today, Colnaghi is pleased to present Saint John the Evangelist navigating the Ship of the Church by Leonardo Flores, a monumental and newly identified work of Andean Baroque painting. The composition offers a rare iconographic variant of the Ship of the Church, placing Saint John at its helm and articulating a sophisticated Counter-Reformation theology through Latin inscriptions, biblical allegory, and maritime symbolism. Active in La Paz, Flores was a foundational figure of the Bolivian school, celebrated for intellectually complex works that merge European models with local visual traditions. Formerly in Spanish private collections, this painting represents a significant rediscovery within early modern Hispanic art.

On view at Colnaghi New York.
As New York prepares for Master Drawings New York, Colnaghi looks forward to presenting three studies by Virginie Demont-Breton, whose work occupies a significant position within late nineteenth-century French academic practice. Exhibiting at the Paris Salon from an early age, she developed a sustained engagement with drawing as the foundation of her work and was later awarded the Légion d’honneur.

Her realist depictions of coastal life in northern France demonstrate her forceful and economical draftsmanship, qualities which have recently led to acquisitions by the Musée d’Orsay and The Metropolitan Museum of Art.

We look forward to welcoming you in New York very soon.

#MasterDrawingsNY #Colnaghi #WorksOnPaper
Colnaghi is pleased to present at BRAFA, opening this week, this Still Life with a Boar’s Head by Peter van Boucle.

This work is a characteristic example of mid-17th-century still-life painting and reflects the transnational circulation of Flemish pictorial models within the Parisian context. Active between Antwerp and Paris, van Boucle developed a mode of still life that negotiated between the material richness of the Flemish Baroque and the emerging restraint of French classicism.

The painting situates still-life imagery of hunted animals within a broader culture of display and consumption, in which images of hunted animals articulated status, abundance and control. The work exemplifies van Boucle’s mature style and anticipates later developments in French still-life painting.

To be presented at BRAFA, Stand 040.
exhibiting this amphora, attributed to the Tyskiewicz Painter, ca. 480-470 B.C., at stand A14 curated by and Helen Allen. two young soldiers being prepared for battle for the 'Study of a Young Collector.' 23 January - 1 February at the Park Avenue Armory
Colnaghi and Colnaghi Elliott Master Drawings are pleased to present Cross Routes for Master Drawings New York 2026. Bringing together rare works on paper and paintings from the seventeenth to nineteenth centuries, the selection explores drawing as a historically mobile medium, shaped by artistic displacement, the circulation of visual models, and cross-cultural exchange. The image illustrated is a watercolour by Charles-Théodore Frère, The Watering Hole at Sunset, signed Th. Frère Bey, a work that reflects the artist’s sustained engagement with travel and encounter.

Alongside Cross Routes, we will present a separate group of works on paper, including drawings by Virginie Demont-Breton and a study by Raymond Lafage.

#MasterDrawingsNY #Colnaghi #WorksOnPaper
This Mater Dolorosa by Nicolás Enríquez is a characteristic example of mid-18th-century Mexican devotional painting and reflects the established prominence of the cult of the Virgin of Sorrows in New Spain. Enríquez, trained within the emerging academic circles of Mexico City, presents the figure with restrained physiognomic detail: the lowered gaze, visible tears, and single dagger articulate her role in the Passion.

The use of fine textiles, jewellery, and a printed-model halo places the work within the broader exchange between European devotional imagery and local portrait traditions, indicating how such images were adapted for both domestic and ecclesiastical contexts.

On view in Fetish at Colnaghi New York.
As winter settles over Belgium, Colnaghi is pleased to return to BRAFA for its 71st edition, presenting a rare signed winter cityscape by Gillis Neyts dated 1666 depicting Antwerp and the frozen Scheldt. The painting was included in ‘Le siècle de Rubens’, the major 1965 exhibition at the Musées Royaux des Beaux-Arts de Belgique that surveyed the art of Peter Paul Rubens and his era.

We look forward to welcoming you at Stand 040.

#BRAFA #BRAFA2026 #Colnaghi #OldMasters #FlemishPainting
Colnaghi is honoured to announce the loan of Caravaggio’s masterpiece Ecce Homo to the seminal Caravaggio 2025 exhibition, on behalf of the painting's new owner. Opening today, on the 7th of March 2025 and running until the 6th of July 2025, the Caravaggio 2025 exhibition at the Palazzo Barberini marks the first time in 370 years that the Ecce Homo returns to its native Italy. The exhibition will offer an incredible opportunity to see the Ecce Homo displayed alongside an incredible 23 other paintings by Caravaggio, representing over one third of the artist's know oeuvre. This is the second major exhibition made possible thanks to the new owner's generosity, following the unveiling of the Ecce Homo at the Prado in May of 2024.

The Ecce Homo, painted by Caravaggio around 1605-09 and believed to have been in the private collection of Phillip IV of Spain, is one of around only 60 existing known works by the artist. Since its reappearance at auction in 2021- where it was incorrectly attributed to a pupil of José de Ribera- Ecce Homo has represented one of the greatest discoveries in the history of art. It inspired an unprecedented speed of consensus around its authentication, following an in-depth diagnostic investigation and interpretation by several leading specialists. It has since been diligently restored under the supervision of experts from the Comunidad de Madrid regional government.

Ecce Homo depicts the art historical motif of the Roman governor Pontius Pilate presenting Christ to the people, with the words “Ecce homo!” (“Behold the man”); one of the most dramatic moments of the Passion, recorded in the Gospel of John (19:5). The work is a powerful example of Caravaggio’s mastery of conception: a skilful composition presenting a three-dimensional and dynamic scene that is entirely innovative, yet within the confines of an established iconographic tradition.

.

Michelangelo Merisi (known as Caravaggio), Ecce Homo, 1605-09. Oil on canvas, 111 x 86 cm. Image courtesy of private collection.

Palazzo Barberini

Colnaghi CEO Jorge Coll speaks at the unveiling of the Ecce Homo at the Prado.

#Caravaggio #Rome #Barberini #Exhibition #Caravaggio2025

COLNAGHI's engagement

COLNAGHI's engagement rate on Instagram is 1.5%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 67 followers. Likes outnumber comments by roughly 74 to 1, with 741 likes and 10 comments on an average post, so most reactions are taps rather than replies.

Engagement rate

1.5%

Avg likes
741
Avg comments
10
Interactions : followers
1 : 67

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Frequently asked questions

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Who is COLNAGHI?

COLNAGHI (@colnaghi1760) is an Art Gallery creator on Instagram, also filed under Home Goods Stores. COLNAGHI is set up as an Instagram business account. The Instagram bio for COLNAGHI runs to 19 words across 3 lines.

How many followers does COLNAGHI have?

COLNAGHI has 46,403 followers on Instagram (46.4K). Set against 515 accounts followed, the audience works out to about 90 followers per account COLNAGHI follows. COLNAGHI has built a substantial archive of 1,374 posts.

What is COLNAGHI's engagement rate?

COLNAGHI's engagement rate on Instagram is 1.5%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 67 followers. Likes outnumber comments by roughly 74 to 1, with 741 likes and 10 comments on an average post, so most reactions are taps rather than replies.

What does COLNAGHI post about on Instagram?

Flinque files COLNAGHI under Art Gallery, with Home Goods Stores as a secondary category. Of the 10 most recent posts shown for COLNAGHI, 5 are carousels and 5 are single images. The 10 recent Instagram captions Flinque holds for COLNAGHI repeatedly use the words work, within, painting, york and master. COLNAGHI's captions carry hashtags such as #colnaghi, #masterdrawingsny and #worksonpaper. COLNAGHI writes those captions mainly in English. COLNAGHI keeps 22 story highlights, which open with a free Flinque account.

How do I contact COLNAGHI for a collaboration?

COLNAGHI's contact details are not published on Flinque's public profile. The Instagram bio links to 1 external site, and a free Flinque account opens that link. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist COLNAGHI and use Flinque's outreach tools wherever a contact route is on file.

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