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 . 

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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 and 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.

 

Finally, the stand includes Jacopo della Pila’s Prudence (c. 1473–75), a refined marble personification of the Cardinal Virtue, exemplifies the sculptor’s synthesis of late-Gothic grace and Renaissance engagement with classical models. Recently reattributed to della Pila, the sculpture may originally have formed part of the funerary monument of Neapolitan nobleman Nicola Tomacelli in San Domenico Maggiore, Naples.