TEFAF

At TEFAF 2026, Flavio Gianassi presents a focused selection of Italian paintings and sculpture spanning from the fourteenth to the sixteenth century, reflecting the gallery’s long-standing commitment to connoisseurship, historical research, and distinguished provenance.

Together, these works reflect Flavio Gianassi’s approach: rigorous archival research, careful attribution, and a sustained dialogue between scholarship and the art market. At TEFAF 2026, FG Fine Art presents not only rare and beautiful objects, but works embedded in documented histories, paintings and sculptures that continue to offer new perspectives on Italian art from the Middle Ages to the High Renaissance.

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Among the earliest works is a refined Nativity by the Maestro di Verrucchio (Francesco da Rimini?), active in the first half of the fourteenth century. The small tempera panel has been the subject of recent scholarly attention and was published by M. Minardi in Paragone (2024).  Trecento painting is further represented by a striking Saint Francis by the Master of Mezzana, and by a rare and opistographic processional cross painted by the Master of Fossa and collaborators, testifying to the complexity of devotional imagery in central Italy during the fourteenth century .

From the fifteenth century, a documented Madonna and Child with two Adoring Angels by Neri di Bicci, dated 1464 and recorded in the artist’s Ricordanze, offers an important example of workshop practice in Florence . Equally significant is the moving Christ Blessing by Gabriele di Francesco da Viterbo, and a rare pair of small panels, Announcing Angel and Virgin Annunciate, by the Master of 1416, which are part of a polyptych now in the Poldi Pezzoli museum in Milan.

A highlight of the stand is Domenico Puligo’s unpublished Cleopatra, a work of exceptional pictorial refinement and distinguished Florentine provenance. Formerly in the collection of Prince Tommaso Corsini and later passed by descent to Countess Beatrice Corsini Pandolfini, the painting is recorded in nineteenth-century Florentine guides and in the 1886 catalogue of the Corsini Gallery . Recently reassessed by Carlo Falciani, the panel represents one of Puligo’s most accomplished secular subjects and contributes meaningfully to the understanding of his oeuvre.

The Renaissance section continues with a refined Portrait of a Boy by Michele Tosini (Michele di Ridolfo del Ghirlandaio), once in the collection of Sir Austen Henry Layard. 

The exhibition also includes an important marble Prudence by Jacopo della Pila, documented in Neapolitan sources between 1471 and 1502, and a monumental glazed terracotta Penitent Magdalene by the Master of the Maddalena di Cascio, whose provenance traces back to the hermitage of Santa Maria Maddalena in Cascio before entering distinguished collections and appearing on the international market .

Finally, the stand includes two major Renaissance masters:  Fra Bartolomeo’s The Lying in State and Ascension of Saint Antoninus, with a remarkable aristocratic provenance extending from the Earls Cowper to twentieth-century sales in London , and Andrea Boscoli’s Madonna and Child with Saint John the Baptist, painted in 1594 and documented in the artist’s own ledger.