From 16th to 19th century Old Masters

Paolo Antonio Onofrio Di Falco (Naples, 1674 - ?)
Annunciation of the Virgin
Oil on canvas
ext. 40,9x64,1 in., int. 55,9x32,4 in
The scarce information we have about this artist is due to the pen of De Dominici, a very punctual chronicler of Neapolitan paintings of his time.

Lombard painter, 17th century
Saint John the Evangelist
Oil on canvas
ext. 33x40,9 in., int. 31,4x39,3 in
This intimate depiction of St John the Evangelist can be traced back to early 17th century Lombard painting; the composition is simple and compact, the tone of the repr

Andrea Locatelli (Rome, 1695 - Rome, 1741)
Mercury and Argus
Oil on canvas
ext. 31,8x37,2 in., int. 24,8x29,5 in
From the 1720s, Andrea Locatelli, whose style was already considered international, enlarges and refines his canvases. The lesson of Dughet and van Bloem

Nicola Malinconico (Naples, 1663 - Naples, 1726)
Saint William of Aquitaine
Oil on canvas
ext. 148.5x118 in., int. 131x100 in
In this canvas, we see Saint William of Orange, better known as Saint William of Aquitaine, meditating in front of the crucifix; the protagonist is a

Michelangelo Pace, known as Michelangelo di Campidoglio (Rome, 1610 - Rome, 1670)
Still life with fruits and birds
Oil on canvas
ext. 38,1x48,6 in., int. 30,1x40,5 in
Luigi Lanzi has described Pace as an excellent painter of fruit, almost a 'Raphael in his genre'. Little is known ab

Agostino Tassi (Rome, 1578 - Rome, 1644)
Marina
Oil on canvas
ext. 24,8x35,4 in., int. 18,5x28,9 in
Very little has come down to us of the first ten years of Agostino Tassi’s activity. We know that he made an initial trip to Florence but returned to Rome f

Venetian painter of 16th century
Madonna and the Child
Tempera on panel
ext. 30,5x26.3 in., int. 21,6x18,1 in
The serene expressions of Jesus and Mary, the few elements describing the scene, the close and essential composition are the most valuable aspects of the work.

Etienne Allegrain (Paris, 1644 - Paris, 1736)
Latium landscape
Oil on canvas
ext. 28,3x23,2 in., int. 24,6x19 in
We know that Etienne Allegrain was a talented landscape painter, very attached to the French tradition of this genre. He learned by Nicolas Poussin the

Salvator Rosa (Naples, 1614 - Rome, 1673)
Bucolic landscape
Oil on canvas
ext. 35,8x26,3 in., int. 31,1x21,6 in
Salvator Rosa is legitimately one of the most prominent Neapolitan painters of the seventeenth century; he trained in his hometown with Francesco Fracanza

Pietro Domenico Olivero (Turin, 1679 - Turin, 1755)
Genre scene at the back of a castle
Oil on canvas
ext. 25,1x43,3 in., int. 20x38,1 in
This canvas by Oliviero is an excellent counterpart to the genre of the bambocciata: on the one hand, we have a more cheerful, light-hearted depic

Venetian School, 17th century
Susanna and the old men
Oil on canvas
ext. 34,4x45,6 in., int. 27,9x39,3 in
The scene depicted by an unknow Venetian painter, is the moment in which Susanna is discovered during the bath by the old people, who assault her; the figure of Susan

Francesco Albotto (Venice, 1721 - Venice, 1758)
Landscape
Oil on canvas
ext. 21.6x25.1 in., int. 14.3x17.5 in
Francesco Albotto’s pictorial production is entirely linked to his apprenticeship with the Vedutist Michele Marieschi. The echo of the master’s teac

Gaspare Lopez (Naples, 1650 - Florence, 1740)
Pair of flower vases
Oil on canvas
ext. 17,3x12,2 in., int. 14,1x9,2 in
The Neapolitan painter, entirely devoted to still lives with flowers, creates a pendant of significant impact and value. According to De Dominici, the

Giovanni Reder (Rome, 1663 - after 1764)
Erminia rescuing Tancredi
Oil on canvas
ext. 60,6x45,6 in., int. 52,7x38,5 in
Here the Roman painter deals with a literary genre of great reputation in the 17th century: Torquato Tasso’s Gerusalemme Liberata, published in 1580. Born i

Domenico Beccafumi, follower of (Monteaperti, 1486 - Siena, 1551)
Holy Family
Oil on wood
ext. 36.6x29.5 in., int. 27.5x21.6 in
Heir to the great Sienese painting tradition, Domenico Beccafumi was, however, also a tireless experimenter, a creator of composition

Francesco Furini (Florence, 1603 - Florence, 1646)
Portrait of a woman
Oil on canvas
ext. 33x27,5 in., int. 27,5x22,2 in
This delicate portrait of a woman is attributed to the Florentine portrait painter Francesco Furini, who was formed in the city by Matteo Rosselli;

Nunzio Ferraioli (Nocera dei Pagani, 1660-61 - Bologna, 1735)
Landscape with figures
Oil on canvas
ext. 60,2x88,9 in., int. 53,3x82,6 in
The landscape is broad and deep, with a dark but warm tone; is contrasted with the figures that adorn it, which stand out against the

Flemish painter, 18th century
Triumph of Bacchus and Ariadne
Watercolour on cardboard
ext. 25.9x21.2 in., int. 20x15.3 in
This delicate watercolour on cardboard - embellished by a rich gilded frame - illustrates one of the most famous moments in the myth that links Bacchus and Ar

Roman School, late 16th century
Saint Paul of Thebes
Oil on panel
ext. 21,6x28,7 in., int. 14,1x21,4 in
Saint Paul, was a wealthy Egyptian who was forced to flee to the desert of Thebaid because, during the persecution of Decius and Valerian, his relatives denounced him

Italian School, 17th century
Lot and his daughters
Oil on hexagonal wood
15,3x12,9 in
The exceptionality of a work like this is well expressed in the caption describing the work: it is a painting of hexagonal format, quite unusual, and made through the technique of oil

Venetian School, 17th century
Adoration of the Three Kings
Oil on canvas
ext. 31,1x45,2 in., int. 26,5x40,9 in
The name of the artist who created this painting has not survived to the present day, but it is possible to trace his activity to the Venetian area, as can be seen fr

Venetian School, 16th century
Saint Jerome
Oil on canvas
20,8x16,9 in
This anonymous Venetian painting, depicting a penitent Saint Jerome, can perhaps be ascribed to the XVI century, but there is no information about the artist. The warm tones and the essential

Painter from the Lombardy-Veneto area, 15th century
Pair of Saints on a gold background
Painted on panel
41,7x15,3 in
This pair of gilded plates was probably originally part of a richer ensemble, perhaps a polyptychone. The depiction of the two saints is attributable to a Lombard-Ven

Piedmontese School, mid-19th century
Flight into Egypt and Dormitio Virginis
Tempera on canvas
ext. 14.5x19.2 in., int. 12x16.9 in
This delicate pair of tempera paintings, by an unknown artist, can be traced back to the Piedmontese painting in the mid-nineteenth century. Although the pai