From 16th to 19th century Old Masters

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,