From 16th to 19th century Old Masters

Felice Rubbiani (Modena, 1677 - San Pancrazio di Freto, 1752)
Pair of still lives with oval frames
Oil on canvas
ext. 46x35.6 in., int. 39.7x29.9 in
This pendant by the Modenese painter Felice Rubbiani depicting a couple of still lives with flowers, fruit, and animals is the perfect e

Andrea Locatelli (Rome, 1695 - Rome, 1741)
Architectural capriccio with figures
Oil on canvas
ext. 46,4x48 in., int. 38,5x40,1 in
Andrea Locatelli is rightly known as one of the pillars of Roman Vedutism in the early XVIII century; he began his training under the painter Monsu Alto, w

Johann Anton Eisemann (Salzburg, 1604 - Venice, 1698)
Dutch navy
Oil on canvas
ext. 24x35,4 in., int. 17,3x29,1 in
We know very little about this extraordinary Austrian Vedutist, but we know that he worked in Verona and Venice and that he was trained in the V

Michele Antonio Rapous (Turin, 1733 - Turin, 1819)
Still life with flowers with ribbed edges
Oil on canvas
ext. 64.5x58.6 in., int. 53.5x47.2 in
Michele Antonio Rapous from Turin took place in the Savoy context and was strongly imbued with the best European Rococo tradition. He was trained

Christian Reder known as Monsu' Leandro (Leipzig, 1656 - Rome, 1729)
An outdoor meal and rest from hunting
Oil on canvas
ext. 25,3x36,2 in., int. 18,8x29.9 in
This indeterminateness of subject, which escapes any episodic framing, that allows us to recognise this pair of oils on canvas a

Alessio De Marchis (Naples, c. 1710 - Perugia, 1752)
Pair of oval landscapes
Oil on panel
ext. 21x 16,5 in., int. 18,7x13,9 in
The first phase of Alessio De Marchis’ production is entirely dedicated to Rome’s view, its tradition, and the study of its contemporaries. From

Pietro Navarra (Rome, active 1685 - 1714)
Still life
Oil on canvas
ext. 40,5x56,2 in., int. 32,6x48,4 in
The canvases by Pietro Navarra, an artist who is still too little known and of whom we have little information, are of a quality that is immediately evide

Andrea Locatelli (Rome, 1695 - Rome, 1741)
View of the roman countryside with figures
Oil on canvas
24.8x30,3 in
In this painting, we can see how the artist had already taken the step from the balanced Arcadian compositions and the lesson of Salvator Rosa, leading him to devote himself to a

Lorenzo Lippi (Florence, 1606 - Florence, 1664)
Pair of portraits
Oil on canvas
ext. 42,2x36,6 in., int. 36,6x27,9 in
To Baldinucci, we owe most of the information we have today on the artist’s life: initially trained in the arts and then apprenticed under Matteo Ro

Giovanni Paolo Castelli called the Spadino (Rome, 1659 - Rome, 1730)
Still life
Oil on canvas
ext. 37x46,4 in., int. 29,7x39,3 in
The life and production of this artist are closely linked to his native city, Rome, from which he never left. Sources report that

Paris Bordon (Treviso, 1500 - Venice, 1571)
Saint John the Baptist
Oil on canvas
38,9x51,9 in
Trained in Venice, Paris Bordon was one of the most famous painters of the XVI century. Vasari tells us about his stay in the city and his first apprenticeship with Tiziano. If

Alessandro Magnasco (Genoa, 1667 - Genoa, 1749)
River landscape with figures
Oil on canvas
ext. 47,2x62,5 in., int. 39,1x54,7 in
Alessandro Magnasco is described in the sources as a Genoese painter who moved to Milan in 1672 and was apprenticed, after his father’s death, to on

Roman School, 17th century
Navy with figures
Oil on canvas
ext. 46,4x62,2 in., int. 39,3x54,7 in
We are dealing with a work of great breadth, where the depth of the landscape is rendered with impeccable sfumato, which allows us to catch a glimpse of a seaside town a

Alessio De Marchis (Naples, 1710 ca - Perugia, 1752)
River landscape with figures
Oil on canvas
ext. 61,4x81,8 in., int. 50,7x71,4 in
The Neapolitan artist Alessio Puciollo De Marchis received his first painting education in Rome in the workshop of Pieter Philip Roos, better k

Salvator Rosa, follower of (Naples, 1614 - Rome, 1673)
The healing of the blind man born and the healing of the cripple
Oil on slate
ext. 27,3x27,3 in., int. 20,8x21 in
This pair of paintings on slate depicts two crucial miracles: the healing of the blind man by Jesus and the healing of the cripple by his apostl

Antonio Zanchi (Este, 1631 - Venice, 1722)
Lot and a daughter
Oil on canvas
ext. 53,1x56,6 in., int. 47,2x44 in
A noteworthy experience in seventeenth-century Venetian painting was that of the so-called 'tenebrosi' painters: they sought to interpret Caravaggesque lum

Pietro Domenico Olivero (Turin, 1679 - Turin, 1755)
Pair of country scenes in front of an inn
Oil on canvas
ext. 28,5x34,8 in., int. 24,4x30,7 in
The most significant merit of this artist was that of being a lucid, appreciated, and ironic interpreter of Piedmontese society in the first half

Attr. to Giacomo Francesco Cipper, known as Todeschini (Feldkirch 1664 - Milan 1736)
Peasant with a mousetrap
Oil on canvas
ext. 50x75,9 in., int. 42,5x68,1 in
What we know about Giacomo Francesco Cipper can largely be deduced from the distribution of his works in Italy and

Bartolomeo Torreggiani (Naples, ? - Rome, 1675?)
Landscape with figures
Oil on canvas
ext. 22,4x26,7 in., int. 21,6x18,1 in
Little has come down to us of the biography and works of Torreggiani, who is said to be a pupil of Salvator Rosa, thanks to whom he is known as 'de

Neapolitan School, late 17th century
Still life with flowers and architecture
Oil on canvas
ext. 58,6x90,1 in., int. 51,5x83 in
The composition of this canvas is prosperous and varied: in a single composition, all the iconographic choices made by the still life genre of the seventeenth ce

German painter, 18th century
Lion biting dog
Oil on canvas
ext. 17.3x20.4 in., int. 13.1x16.3 in
The genre of animal painting developed from the 17th century onwards as an integral part of landscape painting, but, as with human figures, animals were often painted

Giovanni Francesco Romanelli (Viterbo, 1610 - Viterbo, 1662)
Allegory of Winter
Oil on canvas
ext.52,3x45,2 in., int. 46,4x38,1 in
First a pupil of Domenichino and then of Pietro da Cortona, the Viterbese Francesco Romanelli was in Rome - according to the sources - fr

Salvator Rosa (Naples, 1614 - Rome, 1673)
Battle
Oil on canvas
17,3x21,2 in
Knowing the biography of the artist, it would be natural to assume that this battle between swordsmen on horseback belongs to the period of the artist’s early training, given the s

Workshop of Francesco Fracanzano (Monopoli, 1612 - Naples, 1656)
Memento Mori
Oil on canvas
24,4x19,6 in
Francesco Fracanzano moved to Naples at a very early age to join the workshop of one of the most renowned painters of the time: Jusepe de Ribera. Initially,