From 16th to 19th century Old Masters

Francesco Simonini (Parma, 1686 - Venice, 1735)
Battle scene
Ink and watercolour on paper
ext. 24.8x36.2 in., int. 15.7x27.3 in
This mixed technique on paper is a fine example of a Venetian preparatory sketch by an important painter of battles from the early ei

Giovanni Antonio Guardi (Vienna, 1699 - Venice, 1760)
Astronomer
Oil on panel
ext. 21.2x17.9 in., int. 15.7x11.2 in
It is to Fogolari that we owe much of what we know about Giovanni Antonio Guardi. The registers of the patrician Giovanni Benedetto Giovannelli

Godfred Christensen (Copenhagen, 1845 - Copenhagen, 1928)
Landscape
Oil on canvas
ext. 68.8x91.7 in., int. 53.9x76.3 in
The direct study of reality, an intense but not analytical investigation of the landscape, appears when observing Godfred Christensen’s la

Karl Becker (Berlin, 1820- Berlin 1900)
Cyrano and Rossana
Oil on canvas
ext. 74.8x65.3 in., int. 58.2x48 in
The German painter Karl Becker received his formation in Germany under some of the leading exponents of the Nazarenes, Peter von Cornelius, and Heinrich Maria

English School, 19th century
Countryside view
Oil on canvas
est. 128x94, int. 113x79.5
Throughout the eighteenth century and the beginning of the nineteenth, the genre of english landscape painting was divided into two strands: on the one hand, painters were eager t

Sebastiano De Albertis (Milan, 1828 - Milan, 1897)
The ambush, 1860
Oil on canvas
ext. 33.8x39.3 in., int. 25.1x31.1 in
This valuable painting almost seems to be a chronicle episode from the artist’s life. Lombard by birth and education, De Albertis took an active

Gabriel De La Corte (Madrid, 1648 - Madrid, 1694)
Still life with grapes, peaches, figs, and carnations
Oil on canvas
39.5x47.8 in
Gabriel De La Corte is a fascinating painter of the late seventeenth century of whom little or nothing is known. The few contemporary sources that mention his life tell us

Bartolome' Esteban Murillo (Seville 1618 - Cadiz 1682)
Young shepherd
Oil on canvase
xt. 47.2x65.7 in., int. 41.3x55.1 in
The experience of contemporary colleagues of the painter influenced his style very much, but he also learnt the dark and soft tones of Veneti

Matthias Stomer (Amersfoort, 1600 - Sicily, after 1650)
Saint Jerome
Oil on canvas
42.5x35.8 in
Matthias Stomer received his early artistic training from the master Gerrit van Honthorst, a member of the Utrecht School, together with the most famous Dutch painte

Paul Bril, follower of (Antwerp, 1554 - Rome, 1626)
Battle scene
Oil on canvas
59x35.4 in
This painting depicts a wide bare valley flanked by green trees. Running towards the plain is a group of soldiers, not compact but scattered everywhere, slightly accentuat

Gabriel Franck (Antwerp, c. 1590 - Antwerp, 1639)
Penitent Mary Magdalene
Oil on copper
21.6x15.7 in
The rendering of the wooded landscape depicted to note the artist’s debt to the teachings of Paul Bril in the rendering of details such as the representation of the trees.

Pieter Meulener (Antwerp, 1602 - 1654)
Battle
Oil on canvas
ext. 25.1x29.5 in., int. 18.1x26.1 in
Pieter Meulener was a member of the Guild of St. Luke in Antwerp and was registered as a relative of another member of the Guild. From biographical informati

Abraham Brueghel (Antwerp, 1631 - Naples, 1697)
Still life with flowers and fruit
Oil on canvas
ext. 35.4x45.2 in., int. 28.3x37.9 in
This very pleasing oil on canvas is firmly anchored in the Flemish still-life tradition: the meticulous analysis of details, the careful study of li

Balthasar van den Bossche (Antwerp, 1681 - Antwerp, 1715)
The antique dealer’s shop
Oil on canvas
23.2x19.8 in
The scene depicted in this painting is probably that of a discussion between artists about classical statuary during a visit to the studio of an antique dealer. At

Antoon van Dyck, follower of
Madonna with Child
Oil on canvas
ext. 64,5x52,7 in., int. 55,9x43,8 in
This famous iconography is one of the three versions of the theme of Madonna and Child created by Antoon Van Dyck during his stay in Italy - between 1621 and 1625 - and

Flemish Painter, 17th century
Still life with oysters
Oil on canvas
ext. 22,4x25,5 in., int. 15,9x19,2 in
This small oil on canvas by an unknown Flemish painter is an adequate representation of the great seventeenth-century Dutch still-life tradition. The taste of the bou

Rachel Ruysch (The Hague, 1665 - The Hague, 1750)
Pair of still lives
Oil on canvas
ext. 29,1x23,2 in., int. 17,7x24 in
Rachel Ruysch is one of only three women protagonists of the Dutch Golden Century whose exceptionality deserves to be praised. When she was only thr

Gerard Seghers (Antwerp, 1591 - Antwerp, 1651)
The denial of Peter
Oil on copper
ext. 22,2x29,1 in., int. 16,1x23 in
Except for the fact that the scene is not set in the open air, the moment described by the painter is precisely when the Apostle is recognised by a wom

Neapolitan School, 17th century
Crucifixion
Oil on canvas
35,8x24,4 in
The essentiality of this canvas, its cut, and its composition do not easily allow one to guess the author’s name. We can assume that it is a Neapolitan painter belonging to the first half o

Genoese School, 17th century
Death of Abel
Oil on canvas
ext. 42,9x49,6 in., int. 40,1x42,5 in
The Genoese visual experience of the early seventeenth century is closely linked to two key figures of the Italian and European Baroque: Peter Paul Rubens and Antoon V

Roman School, second half of 17th century
View of Tivoli with figures
Oil on canvas
ext. 76,7x56,6 in., int. 67,3x47,2 in
It is impossible to determine the name of the author of this landscape, but the unknown artist probably painted this view of Tivoli in Rome around 1675. T

Andrea Appiani (Milan, 1754 - Milan 1817)
The killing of Remus
Tempera on paper
ext. 22x29.7 in., int. 16.8x24.4 in
This tempera on paper narrates one of the most significant events in the history of the foundation of Rome: the killing of Remus by his brother Romulus.

Paul de Vos (Hulst, 1592 - Antwerp, 1678)
Still life with game
Oil on canvas
ext. 54.7x70.4 in., int. 48.4x64.9 in
The work of Paul de Vos is characterised by an extraordinary interpretative vein of the highly appreciated subject of hunting and still life with animals.

Antonio Diziani (Venice, 1737 - Venice, 1797)
Pair of landscapes
Oil on canvas
ext. 37.7x32.2 in., int. 34.2x28.3 in
In the second half of the eighteenth century, Venetian landscape painting reached very high qualitative peaks, thanks to painters such as Marco Ricci,